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EGYPT’S EYES 

By CONSTANCE G. WILCOX 



SAMUEL FRENCH, 25 West 45tb St„ New York 


Polly anna 

The glad play, by Catherine Chisholm Cushing, after the 
novel by Eleanor H. Porter. 5 males, 6 females. 2 interiors. 
Costumes, modern. Plays 2*4 hours. An orphan girl is thrust 
into the home of a maiden aunt. In spite of the trials that 
beset her, she manages to find something to be glad about, and 
brings light into sunless lives. Finally Pollyanna straightens 
out the love affairs of her elders, and finds happiness for herself 
in Jimmy. “Pollyanna” gives a better appreciation of people 
and the world. It reflects the humor and humanity that gave 
the story such wonderful popularity among young and old. 

Produced in New York, and for two seasons on tour. Boyalty, 
$25.00. Price, 75 cents. 


Martha By-the-Day 

An optimistic comedy in 3 acts, by Julie M. Eippmann, author 
of the “Martha” stories. 5 males, 5 females. 3 interiors. Cos¬ 
tumes, modern. Plays 2*4 hours. 

Full of quaint humor, old-fashioned, homely sentiment, the 
kind that people who see the play will recall and chuckle over 
tomorrow and the next day. 

Miss Lippmann has herself adapted her successful book for 
the stage and has selected from her novel the most telling 
incidents, infectious comedy and homely sentiment for the 

? lay, and the result is thoroughly delightful. Boyalty, $25. 
'rice, 60 cents. 


Seventeen 

A comedy of youth, in 4 acts, by Booth Tarkington. 8 males, 
6 females. 1 exterior, 2 interiors. Costumes, modern. Plays 
8 Ms hours. 

It is the tragedy of William Sylvanus Baxter that he has 
ceased to be sixteen and is not yet eighteen. Seventeen is not 
an age, it is a disease. 

In his heart William knows all the tortures and delights of 
love. But he is still sent by his mother on errands of the most 
humiliating sort and depends on his father for every nickel, 
the use of which he must justify before he gets it. 

“Silly” Bill fell in love with Lola, the “Baby-Talk Lady,” 
a vapid little flirt. To woo her in a manner worthy of himself 
(and of her) he steals his father’s evening clothes. When his 
wooings become a nuisance to the neighborhood, his mother 
steals them back, and has them let out to fit the middle-aged 
form of her husband, thereby keeping William at home. 

But when it comes to the “Baby-Talk Body’s” good-byo 
dance, not to be present was unendurable. Now William again 
gets the dress suit, and how he wears it at the party, and 
Genesis discloses the fact that the proud garment is in reality 
his father’s makes up the story of the play. 

“Seventeen” is a work of exquisite human sympathy and 
delicious humor. Boyalty, $26.00. Price, 75 cents. 


SAMUEL. FRENCH, 25 West 45th Street, New York City 
New and Explicit Descriptive Catalogue Mailed 
Free on Bequest 


A 



f 

EGYPT’S EYES 


A THREE ACT PLAY WITH AN EPILOGUE 
BY / 

CONSTANCE G. WILCOX 

Copyright, 1924, by Samuel French 


All Rights Reserved 

CAUTION : Professionals and amateurs are hereby warned 
that “EGYPT’S EYES,” being fully protected under the 
copyright laws of the United States of America, the 
Dominion of Canada, Great Britain and all countries 
subscribing to the Berne Convention, is subject to a 
royalty, and anyone presenting the play without the con¬ 
sent of the owners or their authorized agents will be 
liable to the penalties by law provided. Applications for 
the amateur and professional acting rights must be made 
to Samuel French, 25 West 45th Street, New York, N. Y. 


New York: 
SAMUEL FRENCH 
Publisher 

25 West 45th Street 


London: 

SAMUEL FRENCH, Ltd. 
26 Southampton Street 
Strand 






TSss+s 

, 2 3 zS ~£> 

Egypt's Eyes 7 ^ 2- ^ 

^4// Rights Reserved 


Especial notice should be taken that the possession of 
this book without a valid contract for production first 
having been obtained from the publisher, confers no right 
or license to professionals or amateurs to produce the play 
publicly or in private for gain or charity. 

In its present form this play is dedicated to the reading 
public only, and no performance, representation, produc¬ 
tion, recitation, public reading or radio broadcasting may 
be given except by special arrangement with Samuel 
French, 25 West 45th Street, New York. 

This play may be presented by amateurs upon payment 
of a royalty of twenty-five dollars for each performance, 
payable to Samuel French, 25 West 45th Street, New York, 
N. Y., one week before date when play is given. 

Whenever the play is produced by amateurs the follow¬ 
ing notice must appear on all programs, printing and ad¬ 
vertising for the play: “Produced by special arrangement 
with Samuel French of New York.” 

Attention is called to the penalty provided by law for 
any infringement of the author’s rights, as follows. 


Section 4966:— Any person publicly performing or rep¬ 
resenting any dramatic or musical composition for which 
copyright has been obtained, without the consent of the 
proprietor of said dramatic or musical composition, or his 
heirs and assigns, shall be liable for damages thereof, such 
damages in all cases to be assessed at such sum, not less 
than one hundred dollars for the first and fifty dollars for 
every subsequent performance, as to the court shall appear 
to be just. If the unlawful performance and representa¬ 
tion be wilful and for profit, such person or persons shall 
be guilty of a misdemeanor, and upon conviction shall be 
imprisoned for a period not exceeding one year.”— U. S. 
Revised Statutes: Title 60, Chap. 3. 

---4- 

3)Cl.0 69933 

JAN-3’25 


-TaO I 





Inscribed With Appreciation of Her 
Unfailing Help and Sympathy 
To 

My Mother 


The Playbarn Workshop Presents 

“EGYPT'S EYES" 

A Three Act Play With an Epilogue 
By Constance Grenelle Wilcox 

Act I. The Egyptian Corridor of the New York 
Museum. Winter 1922. 

Act II. G. Puysen’s Apartment. New York. 
That Evening. 

Act III. The Tomb of Neferet. 

Egypt, 2000 B.C. 

Epilogue. The Egyptian Corridor of the New 
York Museum. 

CHARACTERS (In Order of Appearance) 


Nelly Jones . Marion Laughlin 

Peter, Museum Guard . John Gaines 

Professor Periwinkle . Arthur Sir cum 

Neferet, Princess of Egypt . Alice Keating 

G. P. Puysen . Carl Bricken 

Graves . Lionel Perkins 

Jimmie Greenberg . Jack Williams 

Elevator Boy . Wilson Lefevre 

Yama . H. B. Cheney 

Mrs. Van Renssler . Frances Keating 

Iris Van Renssler . Carol Keating 

Ames, High Priest of Egypt . Arthur Sir cum 

Menes . Frank Hale 

Afer . Ben Perkins 

Rameses, Pharoah of Egypt . Clarke Hopkins 

Lescia . Helen Jenkins 


FRIDAY—SATURDAY, JULY 21-22 
8:15 P. M., D. S. T. 

Scenery and Lights by H. B. Cheney 

Decorations and Costumes by F. Keating, H. Jenk¬ 
ins, C. Wilcox 


















THE PLAYERS 

Present 

EGYPT’S EYES 

By Constance G. Wilcox 

CAST OF CHARACTERS 

Nelly Jones . Mrs. Russell Wheeler 

Peter, the Museum Guard. .Mr. Reginald E. Crouse 
Professor Periwinkle, an Egyptologist 

Mr. George M. Weaver, Jr. 

Neferet . Miss Dorothy Lawrence Ross 

G. Puysen . Mr. Francis G. Tatnall 

Graves . Mr. Biernie Gordon, Jr. 

Jimmie Greenberg . Mr. A. F. Eckert 

Yama . Mr. Benjamin T. Gilbert 

Mrs. Van Renssler _ Miss Gertrude C. Weaver 

Iris Van Renssler . Miss Cornelia Kernan 

Menes . Mr. John G. Gibson 

Afer . Mr. Stuart W. Kellogg 

Ames, the High Priest . Mr. Stanley E. Gilbert 

Rameses, Pharaoh of Egypt — 

Mr. F. Ramsey Devereux 
Lescia . Mrs. John V. Bacot 

Act I. The Egyptian Corridor of the New York 
Museum. A Winter Afternoon in 1922. 

Act II. G. Puysen's Apartment, New York. The 
Same Evening. 

Act III. Inside the Tomb of Neferet. 

Egypt, 2000 B.C. 

Epilogue. Same as Act I. Later in the Same Eve¬ 
ning. 


5 














A THREE ACT PLAY 


Act I. The Egyptian Corridor of the Museum. 

New York. 1922. 

Act II. G. Puysen’s Apartment. 

New York. The Same Evening. 

Act III. Inside the Tomb of Neferet. 

Egypt. 2000 B. C. 

Epilogue. The Egyptian Corridor of the Museum. 

CHARACTERS 
(In Order of Appearance) 

Nelly Jones 

Peter, The Museum Guard 

Professor Periwinkle, An Egyptologist 

Neferet 

G. PUYSEN 

Graves 

Jimmie Greenberg 
Elevator Boy 
Yama 

Mrs. Van Renssler 

Iris Van Renssler 

Lescia 

Menes 

Afer 

Amenhophet, The High Priest 
Rameses, Pharoah of Egypt 
Two Guards 



7 



EGYPT’S EYES 


ACT I 

Scene: The Egyptian Corridor of the Museum. 

Time: New York. Winter. 1922. 

Characters (In Order of Appearance) 

Nelly Jones, Peter, Professor Periwinkle, 
Neferet, G. Puysen 

The scene is the Egyptian corridor of a Museum. 
The floor is of clean polished stone, and the 
high walls of neutral tinted plaster. Down the 
center runs a low, wooden bench. At the right 
is the pink granite tomb of Neferet—perfect 
as it came from Egypt—its huge, clean-cut 
stones with the thin lines of blue shadows where 
they join one on the other—and their firm 
tracery of heiroglyphic figures and cartouches 
—showing clearly every detail in the rather 
bleak white light. The high narrow door of 
the tomb leads into 1 blackness. The Tomb, it¬ 
self, is surrounded by a low whitewashed iron 
railing, joined to a gate before the door. From 
the railing hangs a framed placard with a printed 
description of the Tomb. On the wall, next 
the Tomb, is a line of photographs showing the 
excavation, each numbered and with notes. At 
the left is a glass case, full of Egyptian orna¬ 
ments—beautifully mounted and each with an 
9 


IO 


EGYPT’S EYES 


explanatory card. At the hack, a black granite, 
seated statue of Sekmet, the Lion-headed God¬ 
dess. In spite of the cruelly revealing daylight 
which shows every crack and worn spot in her 
—and even a hit chipped from the end of her 
nose—she is a malignant and rather terrifying 
creature, glaring before her with a concentra¬ 
tion of evil in her blank stone eyes. Above her 
is a high Museum window—showing a pale win¬ 
ter sky without and letting in a shaft of weak 
sunlight. 

Nelly sits facing the audience, on one end 
of the bench—staring straight in front of her — 
apparently oblivious of her surroundings. Her 
figure is drooping, and the dilapidated state of 
her never too attractive green felt hat adds to 
the general effect of exhaustion. She is twist¬ 
ing her hands in the sleeves of her very shabby 
brown coat, edged with a moth-eaten and un¬ 
identifiable variety of fur. She has a nice little 
face, though very pinched and aenemic, with 
wispy reddish hair and pale eyes and eyebrows. 
In her lap is a very worn velvet vanity bag. 
Her feet, in their cracked high boots, are dang¬ 
ling over an open register in the floor. 

Peter enters from the left. He is a sturdy, 
red-haired Irish guard—of the freckled variety 
—in the usual blue uniform. He is musically 
jingling a bunch of keys and whistling. He 
crosses in front of Nelly, looking at her curi¬ 
ously. She looks at him, after he has passed, a 
little fearfully. He goes to the Tomb and be¬ 
gins to unlock the gate in front of the door. 

Nelly. (After whetting her lips as if she was 
unaccustomed to speaking) Are you—locking up— 
now? 


EGYPT’S EYES ir 

Peter. (Cheerfully—over his keys) Opening 
the Tomb. 

Nelly. Oh! (She shivers.) 

Peter. (His back to her) Yep. Tomb of Nef- 
eret—Egyptian Princess—brought from Egypt ab¬ 
solutely intact. Everything in it—just as it was— 
jars—furniture—offerings—coffin. All genuine 2000 
B. C. (He warms to his task and turns around) 
See those pictures? The most perfect of their kind 
on any tomb. That’s her name there over the door—^ 
(Nelly has sunk back dully.) You don’t seem in¬ 
terested. 

Nelly. I don’t care much for tombs. 

Peter. (Sociably—leaning against the tomb rail¬ 
ing) Neither do I. But between you and me this 
is pretty hot goods. Dug straight outer the desert 
and brought here as was. Must a cost pretty near 
a hundred thousand—expedition and all. 

Nelly. It’s a lot of money. 

Peter. Yep. Got G. P. Puysen’s name in the 
papers alright. Munificent donor of work of art. 
He hasn’t seen it himself yet. Coming here this 
afternoon. Don’t believe he’d know what it ’u’d 
look like if he wasn’t led to it. 

Nelly. G. P. Puysen? 

Peter. Yep. George P. That’s him. Puysen’s 
pickles. Sure you’ve seen his face on every package 
you ate. Had some for lunch myself. 

Nelly. Was they good? 

Peter. Great! There was his round double 
chinned mug grinnin’ at me on the cover. He don’t 
look as if he knew anythin’ about tombs. 

Nelly. (With a distasteful glance at the Tomb) 
It ain’t very cheerful. 

Peter. Nope. But what’s that so long’s he gets 
his name in the papers—along with the Society 
notes? He gives the Tomb—and then forgets it. 
He don’t have to stay here. 


12 


EGYPT’S EYES 


Nelly. Do'you mind? 

Peter. Sure not. I’m used to it. And then I 
wanders around a bit. And goes out for lunch. 

Nelly. It’s warm anyways. 

Peter. Sure. 

Nelly. But awful bare lookin’. 

Peter. Some of it ain’t so worse. Say—why 
don’t you go and take a look at the Louis rooms 
for a change? They’ve just been put in—and I’ll 
say they’re more cheerful lookin’—fullo’ brick-a- 
brack—and porcelain junk and gilt stuff. It’s bright 
anyways. It ain’t a good thing to sit too long in 
one place. 

Nelly. (Gathering up her hag) I guess I’ll be 
movin’ on. 

Peter. Say— I didn’t mean to drive you away 
or anythin’. But unless there’s somethin’ special 
you want to see there’s cheerfuller places to sit than 
here—seein’ it’s haunted. 

Nelly. (Getting up quickly) Haunted ? 

Peter. (Brightly) Yep. See her? (He jerks 
his thumb at the statue of Sekmet) She walks. 

Nelly. (Turning—and meeting full the baleful 
glare of the statue) Oh! How awful ! 

Peter. Sekmet—the Lion-headed Goddess. Dug 
up near the same place as the Tomb. There’s the 
pictures over there— (He indicates the photographs 
on the wall.) 

Nelly. She walks? 

Peter. So they say. Walks at night — looking 
for people to eat. Never having been here I can’t 
say. But she was a ferocious one, all right. The 
Egyptians were scared to death of her. There’s a 
picture of her sacred lake where they used to make 
sacrifices. I guess the priests could tell whether 
she walked, all right. Lots of the Guards are scared 
of her. But that’s all bunk, of course. 


EGYPT’S EYES 


13 

Nelly. She looks at you awful hard. Doesn’t 
she? (As if hypnotized by the unwinking stare of 
the Goddess, takes a step toward her and stumbles 
over the bench, almost falling.) Oh! 

Peter. (Catching her arm) Anything the mat¬ 
ter? 

Nelly. (Recovering herself) No. I—I guess 
I must be a little dizzy—from—from sittin’ still so 
long. 

Peter. Say—did you have any lunch? 

Nelly. What do you mean? 

Peter. I mean did you have any lunch? Ain’t 
you faint? 

Nelly. Why—why- 

Peter. I seen you here so long. You was here 
when I passed through before I went out to lunch. 
On that same bench. And now it’s two hours- 

Nelly. Well—I was just thinkin’. I guess it’s 
all right to sit two hours on this bench. Ain’t it? 
In this free museum? 

Peter. Sure it is. But it ain’t so healthy just at 
lunch time—now—Say, now, I wish you would— 
Doggone it, I ate up all my lunch. But if you’d 
just wait a bit till I’ve showed G. Puysen and his 
Professor friend the Tomb—I’d like it if I could 
show you down to the lunch room. The cook’s a 
friend of mine—And he—he might open it this late 
for us- 

Nelly. (Turning to go) Thank you, very much. 
But I’m not at all hungry. 

Peter. Gee—Excuse me if you think I’m fresh— 
but you must be. Why, you ain’t so interested in 
Egyptian relics as to forget it’s three o’clock. Are 
you? 

Nelly. Yes, I am. I got so interested in the 
museum I forgot all about lunch—and I don’t need 
any, anyway- 



i 4 EGYPT’S EYES 

Peter. Say-™excuse me again— but you look as 
if you did. Now if you’d only let me go and get you 
something—after sittin’ on a bench two hours. 

Nelly. No, indeed. I certainly will not let you. 
And I didn’t know the Guards of this museum had 
any right to interfere with anyone sitting here two 
hours—if they were that much interested- 

Peter. But you wasn’t paying any particular at¬ 
tention— 

Nelly. Indeed, I was. I am very much inter¬ 
ested in Egyptian rooms— so much so that I forgot 
all about my lunch—and I guess I can stay here two 
hours if I want to without any guard interfer¬ 
ing— 

(During this conversation Professor Periwinkle— 
a bent little man in rusty black—with a kindly 
absent-minded face, straggly gray hair, and a 
sheaf of papers under his arm—has entered 
from the left.) 

Nelly. I guess anybody can stay as long as they 
like in the Egyptian room without anybody inter¬ 
fering— 

Periwinkle. (Surveying her gently, over his 
glasses) Yes—Yes—why certainly. No one is go¬ 
ing to disturb you. Mr. Puysen and I will take only 
a few moments to inspect the Tomb. What’s this, 
Peter? You weren’t interfering with this young 
lady’s enjoyment of the Egyptian relics? 

Peter. No, sir. But you see she had been here 
two hours- 

Periwinkle. (Interestedly—to Nelly,) Indeed! 
Now that’s very interesting. I am glad indeed to 
meet such an earnest student. I am Professor Peri¬ 
winkle, who superintended all the placing and ar¬ 
rangement of this magnificent specimen of the early 
tombs. I would be very glad, indeed,—delighted— 


EGYPT’S EYES 


15 

to show or explain to you anything in connection 
with these newly acquired treasures—further that 
you might want to see—Miss—er. Would you be 
so kind as to tell me your name ? 

Nelly. Nelly Jones. 

Periwinkle. Yes. Miss Jones. Of course. Of 
course. Are there, Miss Jones, any particular ques¬ 
tions which you would like to propose to me in this 
connection? Or—perhaps it would be better for 
me to first point out to you those characteristics 
which I consider of especial significance—If you 
will follow me- (He moves towards the Tomb.) 

Nelly. Don’t—Don’t trouble—please- 

Periwinkle. No trouble at all. A pleasure. A 
pleasure—There are so few who really thoroughly 
appreciate this variety of dynastic art- 

Peter. The young lady ain’t had her lunch yet. 

Periwinkle. (Looking up — absently) Lunch? 
Lunch? Ah, yes—that reminds me. Mr. Puysen 
was to come here to view the result of his splendid 
generosity an hour after lunch. I imagine that 
would be fairly soon. Will you just step to the 
door of the museum and tell him that I have got 
here before him? And—er—guide him here when 
he comes? I—er—imagine perhaps—he may not 
be used to the er—intricacies of the museum corri¬ 
dors. I would not—er—like to lose him—as it 
were—on this most auspicious occasion. 

Peter. (To NellyJ Are you coming, too— 
Ma’am ? 

Periwinkle. Meanwhile I would like very much 
to have the privilege of telling Miss Jones about the 
Princess Neferet—whose Tomb this most perfect 
specimen is. 

Nelly. (Sitting down on the bench) I’d like to 
hear. 

Peter. (Going out) Weak from hunger—that’s 
what. (Exit Peter. ) 



16 


EGYPT’S EYES 


Periwinkle. It seems that this Princess Neferet 
was a most unusual person—being at one and the 
same time a Princess of the Royal Line and was 
young and beautiful—as there she lies—in all the full 
perfection of her youth—with her ornaments—still 
adorning her—the very pigments of her coquettry 
remaining still fresh—with the sacred funeral urns 
about her and the offering platters of fruit and 

wiiie and cakes for the dead- 

Nelly. Was they good to eat ? 

Periwinkle. Most certainly. The Egyptians 
placed the most delicious of their foods—spiced 
wines and rare luscious delicacies to accompany the 

Dead on their long journey—as you can see - 

Nelly. Are they still there? 

Periwinkle. Why, no—the natural disintegra¬ 
tion of matter has long ago caused them to become 

a mere black powder—but- 

Nelly. It does seem an awful waste. 
Periwinkle. I beg your pardon? 

Nelly. To put all that good food about some¬ 
body who’s dead—when those that’re alive might 
have—eaten it. 

Periwinkle. Why, my dear child—Why—er— 
That was the custom. They used to place these 
sacrificial dishes- 

Nelly. It does seem sort of useless- 

Periwinkle. Not from their point of view. 
Those cakes were to be eaten, as I said, on the long 
journey—and offered as propitiation to the Gods 
of the Dead. Why, they were most lavish and par¬ 
ticular—in frequent instances having stuffed fowl, 

and larded meats- 

Nelly. (Rising) I—guess—I’ll be goin\ 
Periwinkle. Why—But I had not at all fin¬ 
ished telling you- 

Nelly. I guess—You see— I guess I didn’t have 





EGYPT’S EYES 17 

any lunch—and that makes me feel a little 
funny- 

Periwinkle. Why—my dear child- 

Nelly. It — it was talking about all them cakes— 
that did it—and that stuffed fowl. Don’t seem fair 
for her to have stuffed fowl, does it? And she 
dead? 

Periwinkle. Why—why, is it possible that you 
are hungry? 

Nelly. I—I guess, I am. It isn’t so funny at 
that—not havin’ had anything since yesterday morn¬ 
ing— 

Periwinkle. Why—that shouldn’t be at all. 

Dear me. If you will only allow me to get you- 

Nelly. No. I’m all right. You don’t have to 
get anything for me. (She moves towards the door) 
I’m all right—I—just thought I’d explain why I 
was goin’ before you’d finished—your—interesting 
talk. It was just that—I’d been here so long- 

Periwinkle. You must allow me — Why, you are 
faint- 

Nelly. Oh, no. It’s only — The air in here is 
sort of stuffy. Isn’t it? And somehow standin’and 
lookin’ at that Tomb—and thinkin’ of them fowls— 
(She suddenly sits down on the bench) You—I 
guess you could get me a glass of water- 

Periwinkle. Yes, indeed. Yes, indeed. (He 
puts down his papers on the bench) I will come 
back immediately with it. (He goes out left) Dear. 
Dear. This is most distressing. (Exit.) 

Nelly. Cakes—cakes—wine—stuffed fowl—and 
she dead. Oh, I hate her. I hate her. No, I don’t. 
I wish I was her. That’s what. Her—and dead in 
that big Tomb—all gilded—with cakes—cakes—to 

eat- (During the last few moments a shade of 

twilight has come into the room. The pale sunlight 
has gone, and the sky through the high window 
shows a clear, evening yellow, against which the Jiead 











i8 


EGYPT’S EYES 


of the Lion Headed Goddess looms quite dark. As 
Nelly sits, drooping, there comes the sound of a 
clear, thin girl’s voice—singing from the Tomb. 
She jumps up.) What’s that? What’s that? (The 
singing continues—a high sweet cadence—with an 
odd intonation growing a little louder.) Say—r— 
(Nelly swings around—and fearfully looks at the 
Black Sekmet statue—and then back at the Tomb.) 
What are they doing here, anyways ? Ooh! 

(Neferet appears—in full Egyptian costume — 
against the blackness of the doorway of the 
Tomb. She is slim and young, her bronze 
body showing through the pleated blue gauze of 
her dress, which is girdled with a broad gold and 
enamel band. Around her neck are barbarically 
beautiful necklaces of cornelian and blue beads. 
Her thick, soft black hair is cut straight at her 
shoulders, and bound back with a scarlet fillet, 
from which hangs a sparkling gauze veil. She 
is very beautiful—with a pointed face—very 
red mouth—and long black eyes, lengthened with 
antimony—as are their long eyebrows. Her bare 
feet are ankletted with heavy gold anklets, on 
her arms are beautifully wrought gold and 
enamel bracelets—and her hands sparkle with 
rings. She stretches herself to her full height, 
her arms high above her head, and while Nelly 
watches, fascinated, bends down gracefully as a 
willow wand till she touches the floor.) 

Neferet. (In a clear, rather precise voice) Hail 
—God of the Day—I salute thee. (She rises won¬ 
derfully and takes a step into the room. She sees 
the statue of Sekmet and again goes down.) Hail— 
Goddess of the Night—I prostrate myself. 

Nelly. (Moving towards her) Who— who are 
you? 

Neferet. (Rising) I am—Neferet—Princess of 



EGYPT’S EYES 


19 

Egypt—and Sacred Dancer of Horns. (She looks 
about her) What strange temple is this? 

Nelly. This is the Public Museum. 

Neferet. (Looking at Sekmet—and bowing 
with her arms crossed) Where the Gods are kept. 
(She looks at Nelly,) Are you a priestess? 

Nelly. Not much. Say— I know what you are 
—You’re a dancer come to show off the costumes 
and entertain G. Puysen when he comes to look at 
the Tomb. Now—aren’t you? Some people have 
all the luck. 

Neferet. G. Puysen. Who is he? 

Nelly. Why, he is the guy who brought the 
Tomb from Egypt. Pickle Puysen. 

Neferet. From Egypt? But am I not in Egypt? 

Nelly. You’re in New York City. Look out the 
window and you’ll see where you are. What do you 
mean—anyway ? 

Neferet. I dare not. The Goddess Sekmet— 
Guards it from me. (She bows before Sekmet.) 

Nelly. Are you afraid of her ? 

Neferet. She is the Goddess of Night—of Cov¬ 
etous Desire—of Envy—of Mischief. I tremble. 
No one knows in what silent way she will stalk 
upon us—surprise our thoughts—and work her will 
on us. (She stretches on her toes) I dance before 
her—to show that I worship her—and she can hold 

no ill towards me- (She whirls — and dances 

briefly , fiercely , before the Goddess. Ending in two 
more whirls—and sinking to the floor.) 

Nelly. (Catching her breath) I guess G. Puy¬ 
sen will like that all right. If he takes a fancy to 
you, you’re made. 

Neferet. (Rising) And of what will he make 
me? 

Nelly. He can make you a prima-donna if he 
wants to. He’s got a drag with the managers— 
Money talks- 



20 


EGYPT’S EYES 


Neferet. Prima-donna? Managers? He con¬ 
fers titles then? He is a High Priest? 

Nelly. Gee—no. He’s a Millionaire- 

Neferet. Millionaire? What God is that? 

Nelly. Yes—that’s right—Call him a God if 
you want to get some of his millions- 

Neferet. Millions? What kind of Millions? 

Nelly. (Sitting down on the bench) Grab—- 
and Pickles- 

Neferet. Grab? Pickles? I do not know the 
names. They are strange to me. (She looks about 
and shivers a little) This high cold place is strange 
to me—Aah—I know. There stands my Tomb— 
and here am I—without it. I have crossed the Sa¬ 
cred river and stand in the dread country of the 

Dead with its Unknown Gods- (She prostrates 

herself.) 

Nelly. (Looking at her with lack lustre eyes) 
Go ahead. Rehearse if you want to. Don’t mind 
me. It so long since I’ve had a job or rehearsed— 
I kind of like to see it. (With rising passion) Why 
—I’ve walked the street so long—lookin’ at the out¬ 
side o’ theatres and offices—and gettin’ shoved out 
—that I had to come into a Museum to lose sight o’ 
them—and get warm! 

Neferet. Are you a Goddess—or a Lost Soul? 

Nelly. You don’t look as if you belonged to the 
Salvation Army—But if you do I haven’t gone that 
low yet. I’m still worth a nickel—though God 
knows where I’ll get another. 

Neferet. Your words are strange to me— 
Nickel? Nickel? I understand it not. I—stranger 
—or Goddess—am Neferet, Daughter of Egypt and 
Priestess of Horus. I have danced before Pharoah 
—and found favor in his eyes. 

Nelly. I never heard of him. 

Neferet. Never heard of him! Never heard of 
Rameses of the Thousand Shining Names. Lord 







Egypt’s Eyes” * See Page 21 




















EGYPT’S EYES 


21 


of Egypt and Blessed of Amon—Ra—I, Neferet, 
have danced in his Royal court-yard of a thousand 
lotus pillars—and seen its purple hangings—and the 
sun sparkling on the blue water of its pool—and the 
warm air filled with incense wafted by high fans 
of a thousand colors- 

Nelly. Gee—that must be grand. 

Neferet. I have danced on the red marble floor 
polished as a mirror—and warm to my feet—and 
Pharoah took from his neck this amulet and threw 
it at me and cried, “The dancer shall feast with 
Pharoah.” And I lay at his feet on a rug of leopard 
skins—and drank of sweet spiced wines—and ate 
of dripping honey—and cakes and fruits brought 
from all Egypt- 

Nelly. Gee—Ain’t it a pity Egypt’s so far 
away- 

Neferet. (Drawing herself up) It lies but be¬ 
yond that door. (She points a little mystically to the 
dark door of the Tomb. It has grown quite deep 
twilight in the room and the window behind Sek- 
met’s head shows a darkening blue.) 

Nelly. (Rising nervously) Say—what do you 
mean? Don’t you know this is the New York mu¬ 
seum—and there’s nothing behind that Tomb but a 
wall? 

Neferet. There is the other door—that leads to 
Egypt—Land of the Eternal warmth of the sun— 
of the scented lotus and the ripening pomegran¬ 
ate— 

Nelly. Say—Don’t you suppose that if it were 
there I’d a walked through long ago? 

Neferet. It is there. I know it. I have just left 
it—the sun was on the temples—and the sweet 
breath of the clover came to me. I awoke with 
something strange and far calling me. All about 
me were the jars of honey and the platters of fruit 
-—still fresh.—Through one open door was the blue 






22 


EGYPT’S EYES 


light of Egypt, but through the other came the call — 
and I followed. It was strong magic. (She looks 
at Sekmet—dark in the gathering dusk—and shivers) 

Nelly. Say—say—if that was so—wouldn’t I 
just go there. 

Neferet. Go —Goddess of the Unknown shore. 
Egypt is there — with its shining river — and palaces 
—and waits for you—Enter through the Tomb of 
Neferet—and you will find the sacrificial fruits 
ready for your taste- 

Nelly. That isn’t so—I know. The Professor 
man told me they was all—was all—dust. I guess 
—yes, of course—you’re tellin’ me about what hap¬ 
pened two thousand years ago—Ain’t you? 

Neferet. Two thousand years? 

Nelly. Yes. This is the year nineteen-twenty- 
four in New York—and what you were talkin’ about 
was—two thousand years ago in Egypt. 

Neferet. Two thousand years—It was two 
thousand years before the Gods awoke me? (She 
looks about — with a little shiver) It is cold in the 
future- 

Nelly. Yes. It’s winter. 

Neferet. Winter? I know not the word. There 
will be much for me to learn. (She comes towards 
Nelly ) What is it like—this future? What Gods 
are there? 

Nelly. I don’t know much about Gods—and re¬ 
ligion—but I guess there are lots of things would be 
pretty new to you—like automobiles—and elevators 
—and the subway. I guess they’ll look pretty queer 
to you—if you—Gee—I’m talking to you as if it 
was really true- 

Neferet. It is true. What are they like —auto- 
mo-biles-? 

Nelly. Why—they’re—Oh—look out the win¬ 
dow. There’s hundreds goin’ by on the avenue— 
with their lights on already. I ain’t goin’ to tell 


EGYPT’S EYES 23 

you about ’em when you’ve probably ridden in one 
all your life. 

Neferet. (Going towards the window. She 
passes Sekmet with a bow) Permit me—Great Sek- 
met—that I look upon the new God. (She looks out 
the window) Ooh! They are beautiful—I see lights 
flashing—like moving stars. They are glorious—Do 
they hurt one? 

Nelly. No, you ride in ’em. 

Neferet. Ride in such stars? Oh, wonderful! 

Nelly. You wouldn’t think so if you was out in 
the frost gettin’ out o’ their way - 

Neferet. I could worship such glorious moving 
Gods of Light. I will stay in the future. 

Nelly. Yes. You, bet you will. But I’d rather 
be in Egypt. Just think of bein’ warm—outdoors— 
and pickin’ pomegranates- 

Neferet. (Turning) Go then. 

Nelly. Gee—You are crazy. This is New York. 

Neferet. Enter through the Tomb of Neferet— 
to Egypt—It lies there in the sunlight—waiting. 

Nelly. Yes, it did. Two thousand years ago. 

Neferet. (Throwing her head back) Time and 
space—What are they—when the Gods move? I, 
a Priestess of Horus, know that they are but sands 
in the lap of the Gods- 

Nelly. But those Gods ain’t no more- 

Neferet. Ooh! (She crosses her arms above 
her head and bends forward) You say those words 
in the very presence of a Goddess—and Strong Ma¬ 
gic. I feel it. She will work some spell with our 

minds—and creep upon our souls- (She bends 

way down. The room is almost dark—suddenly a 
faint thread of light shows from in the Tomb — 
growing—very slowly — brighter.) 

Nelly. (Clutching Neferet) What’s that? 

Neferet. What? 

Nelly. That light! In the Tomb! 






24 


EGYPT’S EYES 


Neferet. It is the light of Egypt. ( From the 
Tomb—faint and high—almost like a drone—comes 
an echo of singing.) Listen—It is the singing of 
the priests—as they place the sacrificial fruits in 
the temple next my Tomb—and the—the murmur 
of the bees as they drone in the hot sunlight—and the 
high accacia trees- 

Nelly. (Taking a step towards the Tomb) Gee 
—if it was true. It would be summer- 

Neferet. The yellow blossoms of the accacias 
are so thick as they hang over the wall—that the 
temple court is strewn with them. They blow in 
the warm wind—and their fragrance is sweet— 
sweet. Ah—I can almost scent that hot spiciness of 
Egypt-- 

Nelly. (Taking another step) I wouldn’t care 
if it was two thousand years ago. I wouldn’t care 
if I never came back—Nobody’d care- 

Neferet.. Go then. (The light from the Tomb 
streams out quite white—and the singing grows to 
a clear — strange — chanting) The fruits about my 
Tomb are still fresh and for your taking- 

Nelly. I wouldn’t care. It would be warm— * 

and fruits—. I’m going to see what it is-- (She 

turns) Aren’t you coming? 

Neferet. I stay in the Future—whither the 
Gods have led me. 

Nelly. They—they might not like me- 

Neferet. Egypt will welcome the Unknown God¬ 
dess. It will feast the stranger on ripe pomegran¬ 
ates and honey. 

Nelly. And you? 

Neferet. (A little darkly) I do not care to go 
back. There were too many enemies. 

Nelly. Enemies? 

Neferet. There were those who wrought death 
for me. There were those who put poison in my 
food. I was too close to Pharoah. I would not go 







EGYPT’S EYES 


2S 

back to Egypt where such serpents twine about me 
—to a High Priest and a jealous courtesan who of¬ 
fered me pomegranates with a deadly juice! 

Nelly. Nor I either. 

Neferet. But for you it is different. For you 
Egypt will be only broad sunlit fields of peace. It 
is only the high in Favor that live in danger and 
die in violence. To the Maiden from the Unknown 
Shore the Egyptians will only bring offerings of 
fruits and cakes. You are not afraid of friendly 
offerings ? 

Nelly. I’d like those cakes. 

Neferet. Go then. They await you. 

Nelly. And you will stay here? 

Neferet. I will stay here—and dance—and find 
favor in the eyes of the Future, even as in the eyes 
of Pharoah. I will watch closely that none do me 
evil here. And you—you watch closely too—though 
surely there will be none to wish you harm, as they 
did me. Go you, unafraid, into the sunlight of 
Egypt. It is warm, and will caress you- 

Nelly. I’m not scared. And I’m goin’ to find 
out what it is anyways. (She walks into the Tomb.) 

Neferet. Farewell! Egypt grant you joy. (As 
Nelly disappears into the Tomb—the light gradual¬ 
ly fades—and the room is left almost dark. Neferet 
turns and prostrates herself before the Looming 
black Sekmet statue.) Sekmet—guard us both from 
evil. We are in your hands- 

(The Voices of Peter and Periwinkle and Puy- 
sen are heard off stage.) 

Puysen. (In a thick, smooth tenor) This is the 
hell of a big museum- 

Periwinkle. The second largest in the world, 
Mr. Puysen. 

Puysen. Don’t we ever get to that tomb? 




26 


EGYPT’S EYES 


Peter. Here we are now, sir. 

Puysen. It’s confoundedly dark- 

Periwinkle. It’s getting quite late—really. I 
hope we have not delayed too long—and the young 

lady- (They have crossed the threshold.) Why 

—why—she seems to have fainted. (He bends over 
the indistinct form of Neferet.,) This is too bad. 

I know we’ve waited too long about this food- 

Puysen. Couldn’t get here before. 

Periwinkle. Turn on the lights, Peter. Why, 

why- (Peter switches on the lights, the sudden 

hard glare revealing the three men and Neferet, in 
all the glitter of the Egyptian finery, prostrate before 
Sekmet.) This is most extraordinary—incredible! 
Peter. Gee, what do you know about that! 
Puysen. (A thick-set, well-groomed creature, 
whose round, pink, rather vulgar face betrays him 
in spite of his perfect clothes.) Some get-up. 

Periwinkle. (Dazed) I—I brought her some 
coffee and a sandwich—I left her apparently starv¬ 
ing- (He has the coffee and sandwich in his 

hand as he hovers distractedly over Neferet.J 
Neferet. (Rising to her knees, with a beautiful, 
sweeping gesture of her arms) Hail, Great Ones of 

the Future! I salute thee- 

Puysen. Pretty, too. This isn’t half bad. 
Neferet. I partake of the food and drink from 
your hand—in token of my great admiration and 
submission. (She takes the cup of coffee and the 
sandwich from Periwinkle, and tastes of both.) 
Behold! (She rises to her feet.) I drink and eat 
of the future—though the taste is strange to me. 

Peter. Strange! Is it? It’s good coffee and 
bread we got out o’ the lunchroom, though we had 
to unlock it—it bein’ overtime. You ought to be 
ashamed of yourself, playin’ such tricks on us, while 
we was gettin’ good food for you. And I’m not 
90 sure it’s allowed here by law- 









t 


Egypt’s Eyes” See Page 26 






















EGYPT'S EYES 27 

Puysen. Cut that. I want to see what she does 
next. 

Neferet. (Putting the cup and the sandwich 
down on the bench) I dance. I dance before G. 
Puysen, the Great! (She stretches herself, twirls, 
and begins to dance.) 

Peter. Holy Smoke! It’s a frame-up! 

Puysen. (Watching the whirling Neferet with 
undisguised admiration) Some costume! 

Periwinkle. (Peering at her) Incredible, ab¬ 
solutely incredible—real Eighteenth Dynasty Egyp¬ 
tian— 

Peter. One of Ziegfelds’. Well, I have to hand 
it to her for a ringer of an advertisin' stunt. Some 
makeup. What I want to know is—where did you 
make the change? 

Neferet. (Pausing in the midst of her dance—in 
a wonderful pose) I came out of the Tomb to you. 
I walked from the Tomb into the Future. 

Peter. In the Tomb, eh ? Say, you know, that’s 

against the rules- (He starts for the Tomb.) 

You can't be changin' your dress in any of these 
tombs that way. They ain't fitted out for dressin' 
rooms- 

Puysen. That's all right. I'll make it all right. 

It's my Tomb. Say- (To Neferet) —you’re 

some dancer. Who are you, anyhow? 

Neferet. (Drawing herself up) I am Neferet— 
Priestess of Horus—and Princess of Egypt. There 
is my name above the door. 

Periwinkle. A very pretty conceit- 

Peter. A very pretty flim-flam. Say, just what 
won't they do for publicity, these days ? You fooled 
us, all right, all right. 

Neferet. Fooled you? But no. I have danced 
to please you. 

Peter. You pleased me better when you weren’t 
got up in that outlandish paint- 



28 


EGYPT’S EYES 


Periwinkle. A very beautiful costume, never¬ 
theless. (He approaches her.) Most remarkably 
authentic. If you will allow me to inspect- 

Neferet. Which is G. Puysen? I appeal to 
him. 

Peter. Yep. I wasn’t expectin’ you to be wastin’ 
no more time on me. 

Puysen. I’m Puysen. 

Neferet. (Bowing before him) I throw myself 
on your mercy. Have I pleased you? 

Puysen. Sure. 

Neferet. I prostrate myself—with joy. (She 
kneels and prostrates herself.) 

Puysen. That’s all right. What do you want? 

Peter. Say, Mr. Puysen, you’d better look out. 
She’s a slick one. She came in here lookin’ like a 
half-starved cat—to get warm, she says. She was 
waitin’ for you—and got us out by pretendin’ to faint 
with hunger, and then dodged into the Tomb and 
changed. Say, if you ask me, I wouldn’t have noth¬ 
in’ to do with such a frame-up. Nelly Jones—huh! 
It’s a movie stunt, and her publicity man’s waitin’ 
around the corner. 

Neferet. Nelly Jones has gone through the 
Tomb—into Egypt—and I, Neferet, have come from 
it. I, Neferet, Priestess of Horus—and I can prove 
it by the Seven Holy Names of Amon Ra— written 
under the Great Red Stone of Karnak- 

Periwinkle. (Approaching) The Seven Holy 
Names of Amon Ra! What do you know about 
them? 

Neferet. (Solemnly) I know what they are— 
carved by the hand of Horus under the stone of 
Karnak. Shall I repeat them? 

Periwinkle. Yes. Yes. 

Neferet. Prostrate yourselves—that the Great 
Names may not deafen you—and I will prove that I 
am a Priestess of Horus- 




EGYPT’S EYES 


29 


Peter. Got up on Egyptian history. Didn’t you ? 

Periwinkle. No one knows these names. No 
one. The historians have worked for centuries try¬ 
ing to discover- 

Neferet. I know those names—by Sekmet—and 
Khonsu—and Anubis—I offer propitiation—— 

Puysen. (Cutting in) That’s all right. You 
needn’t go too far. This guy’s a bird on Egyptian 
history—and he’d spring your game. But it’s all 
right as far as I go. You’re a winner—looks, danc¬ 
ing and everything. You’ve got me absolutely. 
Some novelty. I expected a dull afternoon over this 
defunct Tomb—and I’ll tell the world I’m grateful 
to you. Tell me what you want, girlie, and G. Puy- 
sen’ll try and get it for you. 

Neferet. I would feast with G. Puysen—even 
as I once feasted with Pharoah—in the court of the 
Thousand Lotus Pillars- 

Periwinkle. The thousand—lotus—pillars! How 
did you know that? 

Nefeeret. Does the dancer Neferet feast with 
G. Puysen? 

Puysen. Sure. Come right along. There’s a 
coupla friends coming in to dinner at my place—but 
I guess you won’t disturb ’em. 

Peter. A bid to dinner. That’s it. Coffee and 
rolls weren’t good enough for her. Well, go along, 
then. This museum don’t feed any more faintin’ 1 

ladies- (He picks up the cup and plate from the 

bench.) And us chasin’ all over to get it- 

Puysen. You might even come in that rig—I’m 
expectin’ a manager—and it’s some taking get up! 
Get a heavy coat to put over it—and come along as 
you are. 

Peter. (Locking the Tomb gate) You bet she 
goes as is. This museum closes right now. Five 
o’clock. Closing time. 







3 o EGYPT’S EYES 

Periwinkle. One moment. I’d like to look in 
the Tomb- 

Peter. (Putting the keys in his pocket) Not 
this time, Professor, if you please. We close at five. 
If the young lady’s things are in the Tomb, in they 
stays. She says she’s an Egyptian dancer. Well, let 
her be. 

Puysen. It’s good enough for me. But you can’t 
go out in that rig. 

Neferet. Why not? I have walked through the 

streets of Thebes and Memphis- 

Periwinkle. Thebes and Memphis—extraordin¬ 
ary— 

Puysen. But this is New York. Besides—it’s 

freezing. Just let her get her cloak there- 

Peter. Nothing doing. Out you go. I’m 
through. 

Periwinkle. But—you haven’t seen the Tomb, 

Mr. Puysen. I was intending to show- 

Puysen. The show’s been good enough for me— 
Neferet. I am through with the Tomb. I go 
with you. Into the great New York. And ride in 

the glaring stars, the auto-mo-biles- 

Puysen. You bet! 

Neferet. With the great God, G. Puysen. 
Puysen. Come along—I’ll give you my coat—and 
it’s warm in the car. Good-night, Professor. (He 
takes off his fur-lined coat, and puts it around Nef¬ 
eret.,) There you are, Girlie. 

Neferet. Ooh! It is soft, and wonderful—a 
garment for a Prince. Ah! Isis and Horus have 
befriended me in the Future. 

Puysen. Sure—I’ll be your friend. 

Peter. You look out for him, too. 

Puysen. (Tenderly arranging the coat on Nef¬ 
eret ) You mean I’ll look out for her- 

Neferet. Ah! I go into the Great Unknown— 
Peter. Anywheres you please—as long as you 




EGYPT’S EYES 31 

clear out o’ the museum. Who’d a-thought it of 
that little thing? 

Neferet. I am ready. 

Puysen. Coming. Good-night, everybody. Con¬ 
gratulations on the Tomb, Professor. Some Tomb! 
Worth the money any day. (He turns after Nef¬ 
eret, who has started to walk into the corridor.) 
Look out, there, Girlie! Don’t stumble over any¬ 
thing—I’ll show you the way- (He catches her 

arm and they go out together.) 

Periwinkle. Extraordinary—most extraordin¬ 
ary. Peter—this occurrence might almost be a hal¬ 
lucination—so complete it was- 

Peter. Well, whatever it was—I’m through. I 
don’t like funny tricks, played in me own museum, 
too! 

Periwinkle. But the Sacred Names of Amon- 
Ra, Peter. How did she know about those? And 

that dance- It—it was positively uncanny. It 

was so real—so authentic- Peter, this has been 

a most singular occurrence. 

Peter. Well, I ain’t goin’ to let nothin’ like It 
occur again. (He moves toward the door.) And 
I’d took quite a fancy to her, too. Gee! 

Periwinkle. A wonderful creature—wonderful! 
(He looks about and shivers a little.) And her— 

beads—and sacred ornaments—even her hair- 

Peter, do you possibly suppose—there are more 
things in Heaven and Earth than we have dreamt 
of- 

Peter. I don’t suppose nothin’. I don’t need to. 
And this ain’t a good place for supposin’. Look at 

her now- (He jerks a thumb at the black Sek - 

met.) She’s grinnin’ at us. 

Periwinkle. Yes—yes, the Gods of Egypt were 
very great. But could they? Oh—impossible—im¬ 
possible— 

Peter. Here’s where I turn off the light on ’em, 










EGYPT'S EYES 


32 

Professor. If you’ll just step ahead in the corridor. 
Periwinkle. I don’t like this at all—it disturbs 

me—disturbs me- (He moves out the door.) 

Peter. (Turns off the light with a snap. The 
room is plunged in instant jet darkness, relieved 
slowly by the light through the window—the square 
of dark blue night sky—and stars—showing behind 
the head of Sekmet.) Gee! It’s black as Egypt. 
(He turns with a start.) What’s that? Oh, gosh! 
Only the reflection of the corridor lights on the 
Tomb. I’m getting jumpy. This place has got me 

cold. I’m going. Say, old lady- (He pauses 

for a moment before the black statue of Sekmet, 
showing now almost clearly in the starlight.) If you 
walks tonight, I’m glad to say you walks alone! 
(Exit Peter.) 


CURTAIN 



ACT II 


Scene : A room in Puysen’s apartment. New York. 

Time: Evening. 

Characters (in order of appearance): 

Graves, Jimmie Greenberg, Puysen, Nef- 
eret. Elevator Boy, Yama, Mrs. Van Renss- 
ler. Iris Van Renssler, Professor Peri¬ 
winkle. 

The Scene is a room in Puysen's apartment. Two 
red-shaded standing lights cast pools of light 
either side of the rather dusky, large, high-ceil- 
inged, red room. At the hack is a big fireplace, 
with a smoldering log and a tiger-skin hearth¬ 
rug. 

Graves, the butler, is setting a table with linen 
and silver in front of the fire. Also at the back, 
r., is a high window, curtained with red, but 
giving a glimpse of night sky with a flash of 
electric sign across it. The room is furnished 
with comfortable chairs of red or deeply cush¬ 
ioned leather. At the right is a dark victrola 
stand with a small object, covered with a bit of 
brocaded stuff, standing on top of it. At the 
left front, a grand piano, littered with the latest 
dance music. Jimmie Greenberg sits here, 
picking out a fox trot. He is a neat little Jew in 
a pin check suit of black and white, with a sleek 
black head, and a general air of Broadway well - 
33 


34 


EGYPT’S EYES 


being, accented by the fresh carnation in his 
buttonhole and the tilted cigar in his mouth. 

At the back of the room, l., is a heavy oak 
door with a complicated lock, evidently leading 
into an outside hall. The exits, right and left, 
apparently to other rooms, are screened with 
heavy red draperies. 

As the curtain rises, Jimmie Greenberg is 
strumming syncopatedly on the piano, “For 
there’s Egypt in your dreamy eyes,” and Graves 
is ritually putting the last touches of silver and 
glass to the small table. This peaceful scene is 
interrupted by a sudden crash from without the 
door leading into the corridor. A woman’s 
screams and cries of “No! No! I’m fright¬ 
ened! I won’t! I won’t!”—confused men’s 
voices—and much sound of shuffling. 

Greenberg. (Stopping his music) Great Scot— 
what’s that? 

Graves. (Solicitously—moving toward the door) 
I don’t know, sir. It sounds like Mr. Puysen’s 
voice, sir. 

Greenberg. And a lady. Wasn’t bringing any¬ 
one to dinner, was he? Expecting anyone but me? 

Graves. No, sir. Mr. Puysen expected no one 
but yourself, sir. The table is laid for two, sir. He 
was coming straight here from the Museum- 

(Sounds from without the door of — “Here, you hold 
her!” and reiterated woman’s voice, crying — 
“No! No! It is horrible—I am frightened!”) 

Greenberg. Seem to be pretty excited, whoever 
they are. Gosh! Maybe it’s an accident- 

Graves. Oh, I hope not, sir. (He reaches the 
door and hastily pulls it open, revealing Puysen 
struggling to hold Neferet with one arm and to 




EGYPT’S EYES 


35 


find his key with the other. She is wrapped in his 
fur coat and apparently half frantic and fainting 
with terror. A colored elevator boy hovers, fasci¬ 
nated and awed, in the background.) 

Puysen. (Pushing in) Confound it! Why didn’t 
you open the door before ? Do you think I can wait 
all night? 

Graves. I came as quickly as I could, sir. Any¬ 
thing amiss, sir ? 

Puysen. No ! No! Certainly not. Here—hold 
her on the other side, will you ? 

Neferet. Water! Wine! Wine! Slaves, bring 
me wine! I faint—I faint! Oh, the horrible rising 
room—the faces—the bells—I faint! (She falls 
limply into Puysen’s arms.) 

Elevator Boy. Glory! She’s looney! Shall I 
call fo’ the doctor? 

Puysen. Get that fool out of here! 

Greenberg. Here—give her this- (He pours 

out some whisky from a decanter.) Had an acci¬ 
dent? Is she hurt? 

Elevator Boy. Ain’t never been in an elevator 
befo’, that’s what—rampin’, rarin’ around like a cir¬ 
cus in a cage. ’Clar’ to goodness—she was wild! 
An’ the taxicab man—he done thought he was carry- 
in’ a steam whistle, too. He ’lowed he thought she 
was kidnapped—but I tol’ him I knew Mr. Pursen 
better’n that. Just same, he’s waitin’ ’round down¬ 
stairs. What’ll I tell him, sir? 

Puysen. Tell him to get out! Give him this— 
(He thrusts a bill in the boy^s hands.) And get out! 
(He fusses over Neferet, and the coat falls back, 
revealing her gorgeous costume.) 

Boy. Lordy! Ain’t she all tricked up, though! 
Po’ thing! Where do you all suppose she got them 
things ? 

Graves. There’s your bell ringing. Go and 
answer it, and don’t disturb the young lady. 



36 


EGYPT’S EYES 


Boy. (Retreating) Sakes, I don’t want to dis¬ 
turb her none. Jest you wait till she begins disturb¬ 
in’ you. She’s a rarin’ one. She is. No. I wouldn’t 
touch her for nothin’ on earth. Crazy folks ha’nts. 
(He goes out quickly.) 

Neferet. (Weakly) Ah! The faces—the dread¬ 
ful dark faces—and the cold—the cold—I per¬ 
ish-! 

Greenberg. (Bending over her) Here, take a 
bit of this. (He holds the glass to her lips) For 
heaven’s sake, George, where did you run into this? 
Was it an accident? 

Puysen. Accident, nothing. I found her in the 
museum- 

Greenberg. In the musuem! 

Neferet. (Who has taken the drink) Ah! It 
is hot, it burns. (She opens her eyes) I awaken, 

and behold- (She rises slowly looking about 

her) It is warm and still, there are no more faces. 
I live- 

Greenberg. (Taking her in) A museum piece, 
alright. 

Neferet. I live, and pour libation to the Gods 

from my drink- (She raises the half full glass 

and spectacularly pours some of it out. It falls on 
the immaculate table and drips to the tiger-skin rug.) 

Greenberg. Here! Look out! 

Graves. (Swiftly rushing up with a napkin) Al¬ 
low me, madam - 

Neferet. (Turning on him) Slave, touch not 
that which I have poured to the Gods or may evil 
sit with you all the rest of your ill-starred days. 

Puysen. He’s quite right. You’ve nearly ruined 
the table. 

Neferet. Ah! Am I to feast with you? Yes! 
Behold the feast! I rejoice. I am overcome with 

happiness- (She suddenly whirls her blue gau2e 

skirts, flying out straight and all her bangles tink - 









EGYPT’S EYES 


37 

ling) And fling myself at your feet, eager for the 

feast- (She throws herself on the tiger-skin 

rug.) 

Greenberg. Very snappy. 

Puysen. But you’re not going to eat there? 

Graves. I couldn’t possibly serve dinner to the 
young lady there, sir- 

Neferet. Why not? (She stretches herself on 
the rug) It is beautiful and soft, this tiger. I will 
feast here. Come and lie beside me. 

Graves. (Sternly) Shall I put dinner on the 
table, sir? 

Puysen. Yes, yes. Right away. 

Graves. Very good, sir. I shall lay three places, 
sir. (He moves majestically away.) 

Puysen. (To Neferet,) Now then, please, you 
must get up. Graves will never in the world stand 
for this, and he’s the best butler I ever had. Get 
up. There’s a good child, and we’ll have dinner- 

Neferet. But it’s so comfortable, here. Surely, 
you would not expect me to eat off that stiff chair? 
I never sit in chairs. I dislike them. They are 
hard. 

Puysen. You simply must. I can’t run the risk 
of losing Graves, and I know from his tone he might 
leave any minute, just when I thought he approved 
of the place, too. 

Greenberg. Yes, Girlie. This isn’t a cabaret, 
you know. Come on. Be reasonable. 

Neferet. But all I ask is to lie here in peace, and 
drink and eat with G. Puysen, who has told me that 
I might. All I want is a pomegranate between my 
lips- 

Greenberg. By the way, I’m not in the way here 
or anything. Am I? 

Puysen. No. No. Certainly not. As a matter 
of fact, I brought her here thinking perhaps she 
might interest you- 






38 


EGYPT’S EYES 


Neferet. I do not care to interest your slaves, 
G. Puysen. 

Puysen. That’s a nice way to speak of Jimmie 
Greenberg. 

Neferet. He has the face of a slave. 

Puysen. He’s one of the best managers on Broad¬ 
way. 

Neferet. The names are strange to me. But if 
he is of importance I acknowledge it. I am Neferet, 

Favorite of Pharoah- ("Graves comes silently 

in and places dishes on the table.) 

Greenberg. Well, I don’t mind saying whoever 
you’re favorite of’s a stranger to me. When do we 
eat? 

Puysen. She can dance like the devil- 

Greenberg. (Drawing up to the table) She 
ought to. 

Graves. (Standing majestically behind the third 
chair) Dinner is served, madam. 

Neferet. (Stretching up her arms) Give me to 
eat and to drink. 

Graves. Do you wish the young lady to be served 
there, sir? I don’t think I could possibly do it. I 
am not accustomed to it, sir. 

Puysen. Certainly not, Graves. (To NeferetJ 
Now look here, young woman. Do you think this is 
exactly a square deal? It may be very amusing 

and all that, but after all we must eat. I asked 

you here to dinner, and we’re used to a few decen¬ 
cies even if this is a bachelor apartment. Come 
on now, get up. 

Neferet. You are displeased with me. You be¬ 
rate me. Your face becomes ugly. Your words 

are hard. They fall like stones on me. And for 

what? For what? I have done nothing, nothing! 
(She half rises.) 

Puysen. Well, you’ve kept dinner waiting, and 




EGYPT'S EYES 


39 

upset Graves and practically insulted my friend, but 
I dare say you meant it all for the best. 

Neferet. Mean? I did not mean anything ex¬ 
cept that I desire to feast with you, to be friends 
with you, and you call me hard names- 

Greenberg. What is your name, anyway, if 
you've got any? 

Neferet. I have told you once my name. 

Greenberg. Aside from all that rubbish- 

Neferet. Rubbish! Rubbish! I am Neferet of 
Egypt, and in my blood runs the sacredness of 
Horus, and you- (She suddenly swoops point¬ 

ing at him) You are a pig and a dog, and do not 
pour libation to the Gods before you eat. You pro¬ 
fane the table. I will not eat from it, nor see you 
eat from it in my presence. 

Greenberg. I guess you'll have to. 

Puysen. Sit down. There's a good girl, and be 
friends. Jimmie’s all right. 

Neferet. No! No! (With a sudden jerk she 
pulls the cloth off the table and all the dishes go 
spilling and clattering on the floor) Oh! You are 
great beasts, and I hate the future. Hate it! 

Greenberg. Well, you have some future ahead 
of you. 

Neferet. (Standing amid the ruin) I trample 
it to pieces! 

Puysen. For Heaven's Sake, get out of this 
mess. I’m all over soup. 

Neferet. (Flinging herself on him, her arms 
around his neck) Pity me! Pity me! 

Greenberg. Interesting evening. 

Graves. (Napkin in hand) Excuse me, sir. But 
you’re standing in the mushrooms- 

Puysen. (Jerking himself free) Let go! Will 
you? For the Lorcrs sake, look what you’ve done 
to my collar! 

Neferet. It is a hideous collar, hideous. You 




40 


EGYPT’S EYES 


are all hideous, great black beasts. Beasts! Beasts! 
(She flings herself on Graves and heats him with 
her fists.) 

Graves. I think I will take the opportunity to 
give notice now, sir. 

Greenberg. Don’t do that, Graves. I simply 
must have the rest of my dinner. ("Yama, the Cook, 
a little excited Hindu with a very large white cap 
all awry, his white apron daubed with cooking, and 
a bowl in one hand and a huge wooden spoon in the 
other, rushes in.) 

Yam a. What is it? What is it? I hear great 
crashing! Oh! Look! Is someone dead? Who 
has died ? Oh! What can I do! Look! Look at 
my soup and my omelette! 

Neferet. It is I! I, the Sacred Dancer come 
back from the Dead, who is scorned! (She draws 
herself up, and throws her arms over her head.) 

Yama. Aah! It is the Goddess Vishnu! (He 
flings himself at her feet uttering a stream of Hin- 
dustanee. Greenberg bursts into roars of laughter) 

Neferet. (Turning on Greenberg,) You laugh? 
You dare laugh? At me? I will show you! (She 
leaps towards him.) 

Greenberg. Hold her, Graves! 

Neferet. (Struggling with Graves,) I will 
show you! I have strangled people before. 

Puysen. She is mad. 

Yama. (Rising to his knees) Vishnu! Vishnu! 

Greenberg. We’re all mad. (There comes a 
loud ring at the bell.) 

Graves. Shall I answer the door, sir ? 

Puysen. For the Love of Heaven. No! 

Greenberg. Don’t let anyone in here! 

Neferet. Yes! Yes! Open the door! Let all 
the world see how I am treated. I, Neferet! The 
Favorite of Pharoah! Let them judge! Open the 
door! Open the door! 


EGYPT’S EYES 


4i 


Puysen. Graves, stay where you are. 

Graves. Yes, sir. 

Neferet. Open the door! I will have the door 

opened. You, slave- (She points at Yama) 

You open the door! I command it! 

Yama. (Scrambling towards the door) Yes, 
yes. I open the door. 

Puysen. No, Yama. Come back! (He dashes 
after him , but too late. They reach the door to¬ 
gether, and Yama pulls it open, tumbling over him¬ 
self in a heap as he does so.) 

Yama. I open ! I open! 

Puysen. You poor fool! 

(He jerks at him, and tries to shut the door, but 
can't because of two ladies who are standing 
there. They are in gorgeous evening dress and 
opera cloaks. One is elderly with perfectly mar¬ 
celled hair and a cold commanding face and icy 
eye, and the other an equally perfectly turned 
out and cold young girl.) 

The Elder Lady. Well, really, Mr. Puysen! 

Puysen. Mrs. Van Renssler, and Iris! 

Iris. You took the most extraordinary time to 
open your door. 

Mrs. Renssler. You seem to have a very unique 
way of welcoming visitors. 

Iris. Didn’t you expect us ? You remember you 
did ask us to come this evening on our way to the 
opera and see your wonderful Egyptian curio. 

Greenberg. (Who has during this conversation 
been pushing Neferet slowly backwards and screen¬ 
ing her. The open door and a high screen also keeps 
her from their sight) Come back here. Get be¬ 
hind those curtains. Quick! They musn’t see you! 

Neferet. Why not? Why not? I would speak 
to them. 



42 


EGYPT’S EYES 


Greenberg. No. No. It would ruin everybody. 
Come. Quick, behind here. (He drags her towards 
the deep alcove of the window with its heavy red 
curtains) For the love of Heaven, I beg you. You 
simply must not be seen. Here! Quick! 

Neferet. (Turning and seeing the window) 
Ooh! See the great changing lights! (She moves 
towards them.) 

Greenberg. Yes. Look at the stars ! (He drags 
her behind the curtains and pulls them to) 

Puysen. Why, yes, yes, of course, I expected 
you, but I had forgotten. That is, a great many 
unexpected things have happened. I- 

Mrs. Renssler. I hope we haven’t disturbed 
you. 

Iris. Why, look. Look at your table. What has 
happened ? And you, why you’re all torn. Are you 
ill? 

Puysen. (Staggering back a little) Yes, yes, 
I’m very ill. As a matter of fact I just fainted. I 
am awfully sorry—I—just fainted and held on to 
the table, and everything went all over the floor. 
I’m—I’m very dizzy still- 

Mrs. Renssler. There ought to be more air in 
here. Open the windows. Pull back those cur¬ 
tains. 

Graves. No, really, madam. It would be very 
bad for Mr. Puysen to have that window open, 
madam. 

Mrs. Renssler. I imagine that I know what I 
am doing- 

Puysen. No, no. Indeed, I mustn’t have any 
air. I don’t want any. I’m quite all right. Never 

felt better in my life. Have—Have a grape- 

(He offers a plate of fruit that has escaped the 
wreck.) 

Mrs. Renssler. Indeed, I think you are very far 
from being all right. Iris, we had better go. 






EGYPT'S EYES 


43 

Iris. I would like to see the Egyptian relic first, 
after coming all this way, if you feel well enough 
to show it to us. 

Puysen. Certainly. Certainly. With the great¬ 
est of pleasure. It is over here, on the Victrola. 
It is a statue of the Sacred Cat that was found in 
the tomb, the one I had brought over from Egypt, 
you know. I am so interested in Egyptology, and 

I had this little statue saved out- (He leads 

them towards the victrola. Mrs. Renssler comes 
upon Yama, who is standing, gazing about the room, 
bowl and spoon in hand.) 

Mrs. Renssler. Do you cook in this room also, 
Mr. Puysen? 

Puysen. Go back to your kitchen, Yama. 

Yama. No! No! I would stay with the God¬ 
dess. 

Iris. Well, really! 

Puysen. He doesn’t mean you. 

Iris. Well, really! 

Mrs. Renssler. Who does he mean ? 

Yama. The Goddess Vishnu, who appeared, and 
then—Aah! She is vanished, vanished! 

Iris. Is this a spiritualistic seance ? 

Puysen. Yes, yes. Yama is very spiritualistic. 
He sees apparitions, you know, is a medium, very 

interesting. He’s Hindu, you know- ( Graves, 

who has during this conversation moved to the door, 
and ushered in Professor Periwinkle, who comes 
quietly in, the door being still ajar, now approaches 
Puysen. ) 

Graves. If you will pardon me, sir, there’s a 
gentleman wishes to speak to you, sir. 

Puysen . ( T urnin g) Who-? 

Periwinkle. It is I, Mr. Puysen, Professor Per¬ 
iwinkle. I took the liberty of coming right in, the 
door being ajar, and no one seeming to hear my 
knock. 





44 EGYPT’S EYES 

Mrs. Renssler. I doubt if anyone would in this 
household. 

Periwinkle. I do hope, I am not intruding or 
disturbing you in any way, but I felt that I simply 
must see and speak to you again in regard to the 
tremendously interesting and not a little upsetting 
occurrences of this afternoon in the museum. 

Puysen. Yes, yes. But, if you will excuse me. 
Professor, I am very busy just now- 

Mrs. Renssler. As far as we are concerned, he 
is not. 

Puysen. Oh, but yes, indeed I am. This is Mrs. 
Van Renssler, Professor Periwinkle, and Miss Van 
Renssler. 

Mrs. Renssler. (As the Professor absently 
shakes her hand) Mrs. Carter Van Rennsler. 

Periwinkle. Charmed. Charmed. I am sure 
you will be most interested also in an account of 
this afternoon’s proceedings, if indeed Mr. Puysen 
has not already told you. I simply could not rest 
until I had seen once more that extraordinary Egyp¬ 
tian apparition- 

Iris. Oh, you mean the little cat on the Victrola? 

Periwinkle. I would not have described the 
young lady so. 

Iris. The young lady! 

Periwinkle. Yes, the very extraordinarily strik¬ 
ing, and I must say, beautiful in a barbaric way, 
dancer, whom Mr. Puysen discovered this afternoon 
in the museum, and took home to dinner with him. 

Puysen. You must be dreaming, Professor! 

Periwinkle. It is that which I wanted to ascer¬ 
tain by my call here this evening. Is it possible 
that we have all indulged in a most remarkable and 
coincidental hallucination, or did you really leave 
the museum this afternoon with a young and perfect 
specimen of Egyptian dancer in all the seductiveness 
of an authentic Horus Dancer costume? 




EGYPT’S EYES 45 

Puysen. I don’t remember anything particular 
about it. 

Iris. Dear me! How odd! 

Periwinkle. But my dear Mr. Puysen, that is 
most extraordinary. Why, as I most clearly recol¬ 
lect, she danced for you, with those peculiar twists 
of the Egyptian Sacred Rites, and then went away 
with you, and you put your fur coat about her-■ 

Puysen. I really don’t care to discuss it here, 
Professor. These ladies would hardly be inter¬ 
ested— 

Mrs. Renssler. Oh, we are—very. 

Periwinkle. And the strange part of it was, 
she appeared to know him, although at the same 
time declaring herself an ancient Egyptian dancer 
come from the tomb, and he had never seen her be¬ 
fore, but they seemed to fancy one another at once. 

Puysen. Quite unfounded. Quite unfounded. 
I scarcely think you know what you are talking 
about, Professor. 

Periwinkle. That, indeed, is what I wish to make 
sure of. Was it a real young woman that left with 
you when you went from the museum this after¬ 
noon? 

Iris. He could hardly put his fur coat around 
a ghost. 

Puysen. Why, ah,'my dear Professor, Pm afraid 
it was all a little hallucination of yours, a mental 
slip. You see the Professor has been working so 
hard on the Egyptian tombs that he must be subject 
to visions. Why, ha, ha. He actually thought I 
left the museum in the company of an ancient Egyp¬ 
tian dancer, which of course, is on the face of it 
absurd. 

Mrs. Renssler. Of course. 

Puysen. Whereas, as a matter of fact, all I took 
away with me was a very pleasant memory of the 




EGYPT’S EYES 


46 

Egyptian tomb which the Professor has so perfect¬ 
ly installed in the museum at my behest. Hah! 
Have some claret, Professor. It will clear your 
head. 

Periwinkle. Dear me! Dear me! This is most 
extraordinary. (He moves towards the table) Per¬ 
haps it all was an hallucination- 

Puysen. Certainly. Certainly. 

Periwinkle. But in that case, how do you ac¬ 
count for this? (He takes a golden amulet from his 
pocket.) This golden amulet which I found on the 
floor of the corridor after you had left. Quite out 
of place, and dropped in the Louis XIV room? 

Puysen. How should I know? 

Periwinkle. Why, it is the sacred amulet of a 
dancer of Horus, a most priceless article. Do you 
think it would be in my museum and I not know it, 
and lying carelessly on the floor? As a matter of 
fact, we have never had a specimen exactly like 
this- 

Puysen. But now you have—keep it and be 
happy. 

Periwinkle. But I simply cannot understand 
why- 

Puysen. Don’t try to, Professor. Don’t try. 
Have some claret. (He pours out a full glass.) 

Mrs. Renssler. (Soothingly) Don’t overtax 
your brain, Professor. I entreat you- 

Iris. Yes, try some macaroons- 

Periwinkle. But I don’t want any macaroons. 
Do you realize that this is- 

Mrs. Van Renssler. Yes. Yes. Very pretty. 
But don’t worry about it any more, Professor. Un¬ 
doubtedly it just strayed out of place- 

Iris. Wouldn’t you like to lie down a little. Pro¬ 
fessor? 

Periwinkle. (In a rising tone) Do you realize 









EGYPT’S EYES 47 

that this is an authentic—the authentic, I might say, 
sacred golden amulet of a Dancer of Horus? 

Neferet. (Suddenly breaking through the cur¬ 
tains) My Sacred Amulet! 

Puysen. Sacred Snakes! 

Greenberg. (Rushing after Neferet) I couldn’t 
hold her! 

Neferet. Give it to me! My amulet, that has 
been kissed by Pharoah. (She holds out her hand 
dramatically, and taking the amulet from the dazed 
Professor, holds it above her head in an exalted 
prayer.) 

Mrs. Van Renssler. I think we had better go, 
Iris. 

Iris. Yes, Mother. 

Periwinkle. (Utterly triumphant) It is! It 
is! Don’t you see that it is completely authentic. 

Mrs. Van Renssler. It seems to be. Come, Iris. 
Professor, I apologize. You seem to be a man of 
considerable observation. Good evening, Mr. Puy¬ 
sen. 

Puysen. No! No! Please don’t go. Please 
don’t go. Do let me explain everything. It is all 
perfectly explainable- 

Mrs. Van Renssler. I haven’t a doubt. 

Puysen. But perfectly explainable. She—she is 
just a friend of mine, a dancer- 

Mrs. Van Renssler. So I gathered. 

Puysen. And—and I had asked her here to 
dance, knowing how interested also you are in Egyp¬ 
tian things, I thought if you should happen to come 
you might be entertained, and also my friend, Mr. 
Greenberg, here, he is a manager, and going to put 
her in one of his shows- 

Greenberg. The Hell I am. I beg your pardon, 
Mrs. Van Renssler, I beg yours, Miss, but this 
friend of Puysen’s got a temperament to crimp any 
show- 


0 



48 


EGYPT’S EYES 


Mrs. Van Renssler. I haven’t a doubt of it 

Greenberg. Not that I wouldn’t use her, if I 
found out that she could really do some steps with¬ 
out fighting like a wild-cat—anything to oblige a 
friend. 

Neferet. (Coming out of her trance and ad¬ 
vancing) I am Neferet, Sacred Dancer of Horus, 
and when I dance the Gods hold their breath. 

Periwinkle. (Eagerly) I would so like to see 
you dance- 

Puysen. Yes. Yes. Dance for us. Please sit 
down, Mrs. Van Renssler. I had planned this 
especially for you- 

Mrs. Van Renssler. Most thoughtful. But 
really- 

Neferet. I dance. I dance for G. Puysen, the 
beloved of the, the Gods Grab, and Pickles- 

Iris. Really. (She bursts into a laugh, smothered 
behind her handkerchief.) 

Mrs. Van Renssler. Your friend seems to be 
very outspoken. 

Neferet. I dance before him, and his wives! 

Mrs. Van Renssler. Iris ! Come at once! 

Puysen. Mrs. Van Rennsler. I entreat you. 
You don’t understand. 

Mrs. Van Renssler. I certainly hope not. 

Puysen. But if you will only let me explain! 

Mrs. Van Renssler. What will you explain? 

Puysen. Why—er—why—er. 

Periwinkle. Yes, Mr. Puysen, if you would 
only explain, I would be so interested to hear. This 
certainly is the young lady whom you took from the 
museum this afternoon. Now if you could tell us a 
little of her history- 

Mrs. Van Renssler. So this is the “pleasant re¬ 
collection of the tomb.” I had no idea your Egyp¬ 
tian collection was of this variety, though I might 
have suspected it- 





I 


» 


Egypt’s Eyes” Act III 
















EGYPT’S EYES 


49 

Neferet. I am Neferet, and have slept in the 
inner court of Kings! And been the Favorite of 
Rameses, Beloved of Amon-Ra- 

Mrs. Van Renssler. After this, Mr. Puysen, 
of course, any further explanation is quite unneces¬ 
sary. 

Periwinkle. But just one moment, really, this is 
most extraordinary. Rameses, you say, Beloved of 
Amon-Ra. That is the name of Rameses II of Egypt 
of ten thousand years ago- 

Neferet. Yes, and I have come from Egypt to 
dance before you. Behold and be silent. I dance. 
(She draws herself up into a heirarchial attitude.) 

Periwinkle. (Stopping Mrs. Van Renssler 
with one hand) I pray you, don’t move. Don’t. I 
think I must be dreaming. 

Puysen. I wish I were. 

Neferet. Let there be music. Can the Sacred 
Dancer of Horus of the Shining Names, dance with¬ 
out pipes and cymbals? 

Periwinkle. (In a dazed murmur) The Sacred 
Dancer of Horus. Go on. Go on. Give her music. 
Give her music. 

Puysen. Play something for her, Jimmie- 

Iris. Yes, do. 

Greenberg. Anything to oblige. (He sits at the 
piano in a very professional, Broadway attitude, 
legs crossed, head on one side) What’ll you have? 

Neferet. Music for the Dance, slave. Music 
for the dance. 

Greenberg. Can that slave stuff. Will you ? 

Puysen. Now, Jimmie-* 

Periwinkle. It’s just her way. 

Neferet. Play, slave. 

Greenberg. Some little way. Dance, darn you. 
Let’s see you dance. (He breaks into a loud and 
very jazzed rendering of (< There } s Egypt in Your 



5 o EGYPT’S EYES 

Dreamy Eyes,” singing in a very nasal accented 
tone.) 

“For there’s Egypt in your dreamy eyes, 

A touch of Cairo of your style. 

You’ve nipped my heart with your cunning art.” 

Neferet. (After listening one dazed moment 
springs at him) Pig! Dog! Vandalous cur! 
What is that that I hear! That barbarous outcry, 
that insulting jangle. Be still and cease or I will 
choke it with my own hands, I, who have been used 
to the sacred music! 

Greenberg. Oh, my God. Hymns! 

Puysen. Play them for her. Play them for her. 

Neferet. Yes, hymns to the great Hawk God 
Horus, Sun filled, wind-swept hymns that roll over 
the temple gates and out across the sacred river. 
Not the snarlings of a sacrilegous puppy! 

Greenberg. Say, if jazz ain’t good enough for 
her, she ain’t going to be in my show, and I abso¬ 
lutely quit right now on playing for her. Good Lord! 
It’s dangerous! 

Neferet. Dog! Play me a hymn on your bar¬ 
barous and ugly instrument! (She towers over 
him) Beware of the anger of the Sacred Dancer, 
and the scorching wrath of Horus which follows 
after and bleaches your bones to ashes on the 
desert- 

Puysen. Don’t you know any hymns, Jimmie? 

Greenberg. If I ever come here again, my name’s 
not James Greenberg. How’s a hymn go-? 

Iris. There’s “How Firm a Foundation.” 

Mrs. Renssler. Iris! How can you suggest 
such a thing. The girl is positively depraved! 
Greenberg. I don’t think I know it, Miss. 

Periwinkle. (Humming) “How Firm a 
Foundation—do-da, de-da, de, da-a-” 



EGYPT’S EYES 51 

Greenberg. (Accompanying him) Go on. I’ll 
follow you. 

Neferet. (Moving in a stately dance) Horus of 
the Golden Names, I offer libation from bowls of 

alabaster and ivory- (The Professor stops) 

Go on, worms! How can I dance without singing? 
(The hymn continues lamely.) I pour before your 
sacred altar of cedar wood, libation of spiced red 
wine from Lybia, and blood of white oxen- 

Periwinkle. (Unable to restrain himself) Were 
they white? Oh, were they really white? No one 
has ever known whether they were really white bulls 
in Egypt- 

Neferet. Fool! They were as white as your 
weak liver. Continue! Sing, sing. (He continues 
to feebly hum) And I offer to you brown cakes 
and pomegranates, and garlands of red lotus inter¬ 
woven with almond flowers- (Her dancing 

grows more violent) That you may shine upon the 
fields of maize, that you may fill the hearts of slave 
and noble with joy and light, and steep the souls of 

the worshippers with- (She rises on her toes , 

holds there for a moment, and then falls like a whirl¬ 
wind on Greenberg and Periwinkle .) Oh! Oh! 
It will not go! I cannot step to it! The dance is 
ruined! Broken! Dogs! Slaves! Sacrilegious 
brutes ! How can I dance to a lame stutter, that 
hiccoughs and jerks like a duck with half a leg! 
A hymn! A hymn! Is there no joy in your life, 
no blood in your veins, that you call that a hymn? 
Give me music, music, or I die! 

Mrs. Renssler. (Coming forward) I do not 
think your friend is quite well, Mr. Puysen. We 
must go. 

Neferet. No. (She points at her) Do not 
move. I must dance. I must dance, now, or die. 

Mrs. Renssler. But really, I hardly understand. 

Neferet. (Raising her arms) Oh, you of the 







52 


EGYPT’S EYES 


Future that is dark and icy, that is lighted only with 
winking lamps that shut out the stars. You who live 
in kennels crowded close upon one another, dark 
and hard and ugly, and filled with dark and hard 
and ugly things that have no use. You who torture 
your bodies with tight, hideous garments, and twist 
your faces into vacancy and mincingness. You 
whose minds are closed and dark and hard and ugly, 
how could you understand! 

Periwinkle. (Breathless) Go on. Go on. We 
of the Future- 

Neferet. Hideous sounds. Hideous smells, 
ugly, evil, crowding, unhappy faces. Oh, give me 
music, light, air, sunlight in the warm fields, always 
golden, always new, unstained. Give me one breath 
of beauty! Music! Music! Are you deaf? 

Puysen. Shall I turn on the Victrola ? 

Iris. Probably she only dances to classical music. 

Mrs. Renssler. Whatever she prefers, I do not 
care to be alluded to in that tone- 

Neferet. You are deaf! You are blind! You 
are as animals in a cage. I sink. I die. I see 
nothing, hear nothing. 

Puysen. Turn on something, quick! 

Greenberg. (Over by the Victrola) What? 

Puysen. Anything. 

Greenberg. Try “The Maiden’s Prayer.” (He 
turns on the Victrola and the room is flooded with 
a beautiful operatic voice.) 

Neferet. Who is that ? Who is that that sings ? 
Just such a voice I used to hear across the fields. 
Where is it? (She turns and sees the Victrola, with 
the Egyptian Cat sitting solemnly on top of it white 
the voice pours out.) Oh! Oh! It is magic! It is 
a God! It is a God that sings! I fling myself upon 
its altar! (She runs across the room and flings her¬ 
self on the Victrola, her arms fall across the mov¬ 
ing disk, and, of course, it stops.) 




EGYPT’S EYES 


53 


Greenberg. Look out now, you’ll break it. 

Neferet. Ah, it is gone. Broken! Dead! The 
Gods are gone, and I am alone in the future, with 
their echo, that dies. 

Mrs. Renssler. Poor thing. Quite out of her 
head. Isn’t she? Quite mad. Such a pity. 

Iris. Probably just a temperamental fit. 

Neferet. (Rising and turning furiously on her) 
No! It is you who are mad. You, who see no 

beauty, feel no beauty, hear no beauty. Ah- 

(The Victrola record, being released begins to play 
again, the voice soaring over Neferet.) That is in 
a box. You shut yourselves in boxes. You have 
shut your souls in boxes, and have lost the keys! 

Puysen. Turn that thing off! 

Iris. Yes, do let us hear what she has to say. 

Mrs. Renssler. (Using her lorgnette) Perfectly 
unique. My dear Mr. Puysen, I had no idea you 
went in for this sort of thing, but I am so glad we 
discovered it before, that is, I really think we must 
not interrupt your interesting evening any further. 
It is quite beyond us, I assure you. 

Iris. Yes. We had no idea your Egyptian relics 
would be so—interesting. 

Greenberg. (Mopping his forehead) Some 
relic. The sooner it’s buried, the better. 

Mrs. Renssler. Oh, we wouldn’t interfere for 
the world with Mr. Puysen’s er—archealogical en¬ 
deavors— 

Iris. Though I should think you might find them 
almost a little too exciting at times. 

Neferet. You hate me. You hate me. Don’t 
you? 

Mrs. Renssler. My dear young person. I do not 
hate you at all. But I must admit you are not the 
type of person I am accustomed to or care to meet 
in my friends apartments- 





54 EGYPT'S EYES 

Puysen. I do assure you, it was all a terrible 
mistake- 

Neferet. Mistake? Mistake? You do not love 
me then ? You do not love me ? 

Mrs. Renssler. Are you ready, Iris? 

Iris. Yes, Mother. (They move towards the 
door.) 

Neferet. (Standing in front of Puysen ) You, 
you who took me here. Tell me you love me. 

Puysen. I don't! I don’t! 

Mrs. Renssler. Good-bye, Mr. Puysen. Under 
the circumstances I feel that you really could not 
care to come to my reception Thursday, so, if you 
simply ignore the card I will understand. In fact I 
think it would be better. Good-bye- 

Neferet. (Trembling with rage) Tell me that 
I am golden with loveliness, that my beauty is as 
the young lotus blossom, and my kisses like hot wine. 

Puysen. (Struggling to disentangle himself) 
No! No! No! I don't think so at all. No, no. 

Neferet. (In a dreadful voice) No? No? 
Then die you shall—like a dog! (She takes out a 
long jeweled dagger from her girdle and is just pre¬ 
vented from plunging it into Puysen by Greenberg 
and Periwinkle leaping one each side and holding 
her. Struggling) Jackals—hyenas! Let me go! 

Mrs. Renssler. Iris! This is simply disgrace¬ 
ful, and I shouldn't be at all surprised if it were 
all a publicity ruse. (Neferet, still struggling, 
has the dagger wrenched from her hand by GREEN¬ 
BERG. J 

Iris. Good-bye, Mr. Puysen. Don't let her get 
too near you. You shouldn’t have such tempera¬ 
mental friends. 

Puysen. Let me explain. Let me explain- 

Mrs. Renssler. This will teach us a lesson 
where to choose your friends. I hope I never, never 



EGYPT’S EYES 


55 

go through such an experience again! (She shud¬ 
ders, and the door closes behind them.) 

Puysen. Let me explain—explain- (He 

rushes after them, and then distractedly back) No, 
you go. Go now and tell them all about it. Tell 
them anything you like- 

Greenberg. But what the hell is there to tell 
them ? 

Neferet. (Dropping on a chair) Tell them I am 
better dead. 

Puysen. You go, Professor. Tell them she is 
dead. Tell them she is a mummy come to life from 
Egypt. Tell them she’s bewitched, hypnotized, any¬ 
thing. But for the Love of Mike, go now! (He 
shoves the Professor to the door) And you too, 
Greenberg, do what you can. Don’t you see if you 
don’t I’m ruined socially? Simply ruined-? 

Greenberg. (Seizing the Professor by the arm) 
Come on, the Professor may get ’em to listen. 

Periwinkle. But- 

Puysen. Hurry. Hurry. They may be all the 
way down by now. 

Greenberg. Get a hustle on. Get a hustle on- 

(He shoves the Professor out the door, then shoves 
his own head back) Golly! What a scoop for the 
papers! (He disappears) Don’t expect me to keep 

it out! 

Puysen. (Striding to the door) Graves! 
Graves ! Yama! Come here and clear up this mess! 
Bring me a Scotch and soda, Graves! Yama! (He 
disappears.) 

Neferet. (In a low murmur) Oh, it is bitter, 
bitter, ugly, in the Future. I am so cold! (She 
shivers.) 

Puysen. (Appearing at the door, and running a 
distracted finger around his completely demoralized 
collar) Good Lord! They’ve gone. Clean bolted. 
Both of them. (He stares at Neferet, and then 







EGYPT’S EYES 


56 

crosses the room heavily and sinks into a chair op¬ 
posite her) Well, you’ve made a pretty mess of it. 

Neferet. Of what? 

Puysen. Of me. Of everything. Of my apart¬ 
ment, my friends, my reputation. Everything I’ve 
spent thousands for, swallowed at one gulp. 

Neferet. I have done nothing. 

Puysen. Nothing! So you think you’ve done 
nothing. Oh, no! You’ve broken my best wine 
glasses, wrecked my dinner, lost me my servants, in¬ 
sulted my best friends, and ruined my social career 
for God knows how long. All in two hours. I 
should call it a pretty full evening. 

Neferet. I am sorry that you have been unhappy 
in it. 

Puysen. 
begin. 

Neferet. 

Puysen. 

Neferet. 

Puysen. 

Neferet. 

Puysen. 

Neferet. 


You are. Oh! Well, it’s a little late to 


I am going to end it. 

You don’t say. How? 

I am going to kill you. 

Oh, come now. 

Yes. Kill you. 

Don’t play the complete fool. 

I am the Princess Neferet of Egypt, 
the Sacred Dancer of Horus. My name has been 
insulted. 

Puysen. Oh, for the Love of Mike. What is 
your name anyhow? I don’t believe you know- 

Neferet. I only know that you are a pig-faced 
fat man, with a flabby soul, and you have refused 

my love, mine, and I am going to kill you- (She 

rises, slowly.) 

Puysen. (Rising) Well, I’ll say you’re not. 

Neferet. We will see. We will see if the Gods 
are all dead. We will see if they will not help me 
to strangle an ugly creeping thing as once I did a 
snake in the Valley of the Dead. You will not live 




EGYPT’S EYES 


57 

any more in these dirty dark boxes you call rooms. 
You will not live- 

Puysen. See, here, Girlie. You did a lot of up¬ 
setting tonight. But maybe I was a little harsh, too. 
Come on now, let’s talk it over. I can be just as 
sensible as anybody, and I will say you’re a beauty. 
I’ve taken to you. I like your spunk. And the Lord 
knows that’s more than most men would. Now I've 
got a nice little place here, and if you like to stay 
a while, why, I sorter think I might get fond of you, 
if you was to be a little kind to me. 

Neferet. To you? To you? You fat, greasy 
turtle, with your soft hands and empty soul. Keep 
your Gods, whatever they are. Grab, Pickle, Mil¬ 
lionaire. Call on them, for my only desire is to see 
you dead, like a worm at my feet. You touch me. 
I, who have lived in the sunlight of the Temple of 
Horus, who has lain in the arms of Rameses. You 
touch me! You shall not touch anything again! 
(She rushes at him and he retreats behind the table.) 

Puysen. Look out now. Mind what you’re 
doing! 

Neferet. You’ll soon feel what I’m doing! 

Puysen. (Running from her) But you wouldn’t 
really strangle me? 

Neferet. Oh, Gods of Egypt help me to show 
him how I’ll do it! (They are careening around the 
room, and she seises one of the big lamps to brain 
him as he dodges her. The connection pulls out as 
it falls the room is plunged in darkness. Puysen 
dashes for the door, Neferet after' him, and just 
succeeds in banging it in her face. Neferet flings 
herself against the door, but it holds locked. 
Neferet beating against the door.) Darkness, dark¬ 
ness. I would strangle the Future. Strangle it! 
(She stands up and gropes her way down center) 
Darkness. Darkness. There are no Gods! (She 

falls on the' floor, weeping.) 



58 EGYPT’S EYES 

(The door opens a cautious crack, letting in a flood 
of light from the hall, and revealing the round 
face of the colored elevator hoy.) 

Boy. (Peering about) ’Clare to goodness. 
What’s de matter in here? Everybody leavin’ like 
they was possessed. Fust them two ladies, then de 
servants, then de master tearin’ down like de debbil 
was after him. What’s happened to de poor young 
lady! 

Neferet. (Rising in the streak of light that 
sparkles on her barbaric dress) Take me back to 
my tomb! Give me back to Egypt! 

Boy. Sakes alive! Ghosts! (He closes the 
door.) 

Neferet (Running to the door and beating on 
it with her fists) Let me out! Let me out! 


CURTAIN 


ACT III 


Scene : The interior of the Tomb of Neferet. . 
Time: Egypt. 2000 B. C. 

Characters: (In Order of Appearance.) 

Nelly Jones, Menes, Afer, Amenhophet 
(The High Priest), Rameses (Pharoah of 
Egypt), Two Guards, Lescia 

The scene is the Interior of the Tomb of Neferet. 
At the back, a high narrow gilt wooden door, 
with a space of blue sky showing above it. The 
walls of the Tomb are white with lines of hiero¬ 
glyphs along them, and figures of the Hawk¬ 
headed God, Horus, and lines of Horus Danc¬ 
ing Girls. It is evidently the outer chamber of 
the Tomb, for in the room are only two little 
red tables with fruits and meats and cakes on 
platters, and, right and left, two stiff red and 
blue Egyptian chairs. Nelly is discovered 
standing in the middle looking around her. She 
is still, of course, in the shabby green suit and 
hat, just as she came into the Tomb from the 
other side. From without comes the same high 
drone of singing that we heard in Act One. 

Nelly. (With a long breath. She looks at the 
space of blue sky) Gee, it’s warm alright. And 
there’s the sky. I guess this is Egypt straight 
enough. (She looks around again) I feel kinda 
funny. It’s awful hot and still. Oh! (She sees 
the pictures of the Hawk God) I hope it ain’t popu- 
59 


6o 


EGYPT’S EYES 


lated with people like that. (Her eyes fall on the 
dishes of food) Gee, fruits. Just as she said. 
Pomegranates. Mmmm! (She reaches out and 

takes a deep bite of a dripping pomegranate and in¬ 
stantly throws it down) Good-night! Who would 
have thought pomegranates tasted like that! (She 

picks up a flat cake and looks at it with distrust; she 
bites it.) Ugh! Hard as a brick. They can’t have 
any cooks at all in this country. (The head of the 
Priest Menes, appears suddenly over the top of the 
door, black silhouetted against the blue. He is 
clutching the top and holding himself up by his 
brown hands. His head is shaven and a dark red- 
brown. His eyes roll with terror and excitement ,J 
when he sees Nelly, and he drops back with a long 
wail, which breaks the distant chanting. Nelly 
springs up and looks about her.) Gee! What was 
that? I don’t like this little room too much. Won¬ 
der how you get out of it. 

(The heads of Menes and Afer, another shaven 
priest, appear over the door. Menes points at 
Nelly to Afer.) 

Menes. Look, look! It is as I said. Look! 

Afer. Aah! By the Great Sekmet, I am afraid. 

Menes. Look! It moves! It lives! 

Nelly. Hi! 

Afer. It speaks! I am afraid! (He drops out 
of sight.) 

Nelly. Eli, there ! How do you get out of here? 

Menes. Do— do you address me? 

Nelly. Yes, you. Will you open the door, 
please ? 

Menes. No, no. I am afraid. (He drops back 
out of sight.) 

Nelly. Nice hospitable lot. (She advances 
totmrds the door) Say, do open the door. There’s 


EGYPT’S EYES 61 

nothing to be scared of. I won’t hurt you. Look 
here. Open the door. I want to get out. 

(The voice of the High Priest comes sonorously 
from without.) 

High Priest. Open the door of the Tomb of 
Neferet in the Name of Ames the High Priest of 
the Temple of Horus. 

(The door swings back, revealing Ames, standing 
in a flood of brilliant Egyptian sunshine. He 
is in full regalia of white game and gold and 
carries regally a golden staff of office. He is 
in a rigid hierarchial attitude. The two Priests 
in their scant white linen garments hover dis¬ 
tractedly in the background.) 

Nelly. Hello. I thought you was never cornin’. 
Ames. (Staring at her unblinkingly from his 
pose) I am Ames, the High Priest of the Temple 
of the Great God Horus, under the dominion of the 
All Powerful Pharoah Raineses of the Thousand 
Shining Names. 

Nelly. I’m Nelly Jones. 

High Priest. The name of the Goddess is 
strange to my ears, but I offer her propitiation. 

Nelly. Don’t trouble. (She takes a step for¬ 
ward) Do you suppose I might go out and look 

around ? 

Ames. I offer you propitiation in the Name of the 
Gods of Egypt, offering to the Strange Being who 
may be a God, we know not, who has appeared in 
the Tomb of the Dancer Neferet, Favorite of Phar¬ 
oah. Even now messengers ride swiftly to Phar¬ 
oah to tell him of this happening. 

Nelly. Oh. Don’t bother. I can just look 
about by myself. It looks awful pretty out there. 


62 


EGYPT’S EYES 


Ames. (Blocking her exit. The other priests have 
glided into the Tombs and stand whispering to¬ 
gether) It would not be wise for Pharoah, Lord of 
Egypt, not to see the Strange Goddess or Creature 
even as she came into the Tomb of the Favorite 
Dancer. Pharoah is all Great. Even the Goddess 
or Creature must wait for Pharoah. 

Nelly. I’m not a creature. 

Ames. (Bowing) We know not yet whether you 
are Creature or Goddess. Good or Evil. 

Nelly. Well, I guess I’m good enough. I’m a 
lot too good to be kept waitin’ in a room with pic¬ 
tures like these. Gee. Did you ever see the beat! 
If I get a job dancin’ in Egypt I hope I don’t have 
to do it in a rig like that. 

Ames. The words are strange to me. But those 
are the very image of the living Sacred Dancers of 
Horus. 

Nelly. They ain’t decent. 

Ames. What! The Sacred Dancers of Horus! 
There is something evil about this. 

Nelly. Oh, I don’t mind ’em especially. But 
they wouldn’t pass the censor where I live. I should 
think they would be ashamed to go about like that. 

Ames. Ashamed! The High Sacred Dancers 
ashamed! Beware! 

Nelly. Oh. They’re all right, and I suppose it’s 
awful hot weather, for dancin’. But they wouldn’t 
be allowed in Vaudeville. 

Ames. What is that ? All these new words sound 
heavy in my ears. Explain them to me. The High 
Priest of Horus is not accustomed to many new 
words. 

Nelly. Well, vaudeville. Vaudeville’s where 
they do turns- 

Ames. Turns? Like this? (He turns solemnly.) 

Nelly. Oh! Goodness, no! (As she catches 
sight of the long golden tail with the scarlet brush 


EGYPT'S EYES 63 

that hangs down behind him) Oh, oh! Look at 
your tail! Isn’t that funny ! 

Ames. Funny! Funny! That is part of my 
badge of office! The Golden Tail of the Sacred 
Animal. You are laughing at it! At me ! The High 
Priest! 

Nelly. Oh! I didn’t mean to be rude. But it is 
ridiculous. You’re wearing a tail, like a cat! 

Ames. A cat! Mention not the sacred animal in 
levity. 

Nelly. Cats? Are cats sacred here? My, this 
must be a crazy country. Why in New York they 
tie cans on their tails, when they don’t drown ’em. 

Ames. Oh, horror! Sacrilege! It must be a 
place of Evil! Horus protect us from the influence 
of such a place. Cast out the darkness from the 
Land of Pharoah! Let Pharoah find it in his power 
to remove the scourge! 

(During this speech, Pharoah, a gorgeous figure 
in scarlet and blue and gold, with the high crown 
of Upper and Lower Egypt set above his hawk¬ 
like face has come into the doorway.) 

Pharoah. What is it you would have Pharoah 
remove ? 

Ames. Come not too close, oh, Rameses. Not too 
close. I fear Evil. 

Pharoah. Pharoah fears nothing. Let Pharoah 
behold what it is. 

Ames. It is a Creature, Oh King of the Thousand 
Shining Names, a Creature or a Goddess, I know 
not which, who has come into the Tomb of Neferet, 
Favorite of Pharoah, from the Dark Way, from the 
Beyond Time, e’en as we chanted before the Doors. 
We know not what it is. Behold. How strange! 

Pharoah. Who are you? 

Nelly. I’m Nelly Jones. 



EGYPT’S EYES 


64 


Pharoah. I am Rameses, Pharoah of Egypt. 

Nelly. Pleased to meet you. 

Pharoah. Where did you come from? 

Nelly. New York. 

Pharoah. I know not the country. 

Ames. No. We know not the words she speaks. 
Everything is strange beyond telling. Beware, Oh 
Lord of Greatness and Light, how you speak to one 
who knows other Gods. She is not of us. Pier gar¬ 
ments are peculiar. Observe what she wears on her 
head. 

Pharoah. It is strange. 

Nelly. Well, that’s not very polite, I must say. 
It’s not half as funny as what you’ve got on your 
head. 

Pharoah. This is the Crown of Upper and 
Lower Egypt. 

Nelly. Well, I never saw a crown that looked 
like that before. 

Ames. Aah! She is ignorant of the Crown of 
Egypt! She knows nothing of us, Great Rameses, 
she must be an Evil and an Alien Sign. She is an 
Evil portent and wears a monstrosity on her head. 

Nelly. It is not. It’s only my hat. (She 
snatches it off, and the sunlight gleams! on her red 
hair.) 

Ames. Ooh! Ooh! Her head burns! 

Menes. Look at her hair! 

Afer. Look! Look! 

Nelly. Well, what of it? Some people like red 
hair. 

Pharoah. It is curious, but yet I find it very 
beautiful. Rameses is pleased. It is something new. 
(He comes toward her.) 

Ames. Do not approach it! Oh, Pharoah of the 
Thousand Virtues. You will bum! You will die! 

(During this speech, Lescia, the Favorite, an Egyp- 


EGYPT’S EYES 


65 


tian beauty in all the glitter and gauze and jew 
els and feathers of tne Time, has come to the 

door.) 

Lescia. Pharoah cannot die. He is Immortal. 

Pharoah. Lescia! You here! 

Ames. He is endangered. Lady Lescia. He is 
entrapped by a strange being, half creature, half 
Goddess. Speak to him. 

Lescia. Rameses. It is I, Lescia, who have fol¬ 
lowed you alone, into the heart of danger. 

Pharoah. So I see. 

Lescia. Yes. Lescia, your favorite, who could 
not be left behind. I heard the strange apparition 
in the Tomb of Neferet, my Predecessor, and I 
came. I came even unaided, and the Temple stones 
hurt my feet. I come to see what Rameses saw. 
Rameses, your hand, or my steps fail me. 

Ames. He is ensnared by the strange creature. 
He will be strangled by the coils of her hair, and 
it is bright scarlet. 

Lescia. Scarlet hair! Oh, hideousness ! I hide 
my face! (She retreats behind a feathered fan) 

Rameses! You who have always loved Beauty! 

Nelly. If you don’t mind I think I’ll go now. 
(She starts toward the door.) I’d like to get out in 
the sun. 

Ames. (Barring her way) Out in the sun! No! 
Where would you go, spreading your strangeness, 
your strange Gods, and your unknown ways? 

Nelly. I’d go just anywheres where it was warm 
and there was somethin’ to eat besides sour fruit 
and cakes with no yeast- 

Ames. She has touched the Funeral Sacrificial 
fruits. She has profaned the Food of the Dead! 
Oh! Horror! 

Lescia. (Shrinking up against Pharoah ) Ra¬ 
meses, my Shining One. Protect me. 



66 EGYPT’S EYES 

Nelly. I wouldn’t hurt anybody. Why I’m just 
a girl, like her. 

Lescia. Like me! Oh, no! No! She will cast 
evil on me. She will take my shadow! I am afraid ! 
Protect me! See, see how differently she looks from 
me. She is a dreadful ugly clumsy creature. Oh! 
I am afraid! All trembling! 

Pharoah. There is no need for that. Pharoah 
is here. He is not afraid. 

Lescia. I am so little and frail. I cling to your 
arm. Oh, do not look so at her. She might bewitch 
you. 

Nelly. I wouldn’t for anything. If he’s your 
beau, you can have him. But I’d like to go out. 
Why won’t you let me get out ? 

Ames. Because we know not what strange ruin 
you would spread on us. Even lately we have re¬ 
covered from the famine and drought. We do not 
want it to walk again. Even if we have to resort 
to a measure of Force to keep it back. 

Lescia. Yes. I don’t see why she should go 
about when we don’t know what she’ll do. I don’t 
see why she should be allowed out at all. Why 
don’t you have her killed, Rameses? 

Nelly. Oh! You wicked, spiteful thing! 

Lescia. Rameses! She speaks so to me. To me! 
Lescia, the Favorite of Rameses! Kill her for me, 
Rameses! 

Nelly. Gee! No wonder Neferet was done in. 

Pharoah. What’s that! You have spoken to 
Neferet? 

Lescia. She lies, Rameses. Neferet is dead. 

Ames. Touch not the uncanny being, Rameses 
of the Shining Names. Her words will burn you. 

Pharoah. I would hear of Neferet. Speak. 

Ames. Remember, the words you say are uttered 
in her Tomb. If I, the High Priest of Horus, dis- 


EGYPT’S EYES 67 

cover one to be a lie you shall be strangled on the 
alter of Horus. 

Lescia. Take care what you say! 

Pharoah. Where have you seen Neferet? 

Nelly. In New York. 

Ames. That strange place again. 

Pharoah. And what did she say to you? 

Nelly. She said—Oh, I don’t want to say what 
she said. I don’t want to get nobody into trouble. 
She—she told me to look out. Please, just let me 
out and I won’t say anything. 

Pharoah. You will speak. 

Ames. Weigh your words. The knife awaits on 
the altar of Horus. 

Lescia. There are other things besides knives. 

Pharoah. Speak. 

Nelly. She said—she said- (She looks 

around helplessly at the High Priest and Lescia, 
and her voice fails.) 

Pharoah. Continue. 

Nelly. (With a burst) Oh, she said that Egypt 
would be full of flowers and sun, and good fruits 
to eat. She said you would welcome me and give 
me them fruits, and cakes and everything, and treat 
me right. And instead of that you just stand around 
and talk at me, and don’t understand a word I say. 
Oh, you ain’t got no sense at all and my head aches, 
and I wish I had some coffee and bread right now, 
honest I do! 

Pharoah. It is a propitious omen. Give her 
food. (He claps his hands) Cakes! Wine! We 
will feast in the Tomb of Neferet to celebrate her 
words! 

Ames. Remember, Oh Lord of the Great Powers, 
that it was Ames, the High Priest, who discovered 
the omen, whatever it is. 

Lescia. See, oh, Rameses, if it should be a propi- 



68 


EGYPT’S EYES 

tious omen, it has come into the Tomb of Neferet 
to speak well of her successor, Lescia. 

Nelly. I ain’t so sure of that ! 

Lescia. It would be well for you to be sure. 

Pharoah. We will see further. (He sits ma¬ 
jestically in the chair, left, and the two priests come 
on with platters of fruit. One carries a tray with 
an ewer and metal wine cups.) Bring here the feast. 
(With a magnificent gesture) The Strange Omen 
shall lie at Pharoah’s feet and feast! Let there be 
spices and honey and wine! 

('Lescia throws herself on the floor before 
Pharoah.J 

Nelly. (Drawing up the other chair) Gee, that 
sounds awful good. Let’s, let’s begin. 

Pharoah. At my feet! 

Lescia. She sits in Pharoah’s presence ! 

Ames. Sacrilege! (He pulls the chair sharply 
away from Nelly, who almost tumbles to the floor.) 

Nelly. Look out what you’re doin’. It’s awful 
hard on the floor. 

Pharoah. Come here, by Pharoah. (Lescia has 
moved close to him , and sits with one arm over his 
knee.) 

Nelly. Thanks. I’m all right. 

Pharoah. You refuse Pharoah! 

Nelly. I ain’t used to—to sittin’ so close. I’m— 
I’m awful hungry and I can eat all right here. (She 
reaches up and takes a fruit from the platter held 
stiffly by a priest at her elbow and bites into it.) 

Lescia. She eats before Pharoah! 

Ames. Oh, monstrosity! 

Nelly. It ain’t so much at that. It’s only an¬ 
other one of them awful pomegranates. Don’t you 
have nothin’ else to eat in Egypt? 

Pharoah. Give her wine, and figs. (He takes 


EGYPT’S EYES 69 

a cup, as does Lescia. The Priest passes one to 
Nelly. ) Creature, Pharoah drinks to you. 

Nelly. (She takes a draught of the wine and 
chokes and splutters and puts down the cup) Gee, 
it’s simply awful, ain’t it? My Gawd, what did 
you put in it? 

Ames. It is the sacred ox-blood. 

Nelly. I’d rather have a cocoa-cola. 

Ames. The name is strange to me. 

Pharoah. Try this. It is the favorite dish of 
Pharoah. Oysters, stiffened with honey. 

Nelly. Thanks. (She looks at the little bowl 
Pharoah gives her distrustfully.) How—how do 
you eat it? 

Lescia. This way (She dips her fingers in¬ 
to the dripping stuff and picks her oyster out of her 
bowl and eats it.) 

Nelly. That ain’t good manners. 

Lescia. You have none at all. 

Pharoah. (Doing the same as Lescia,) It is 
good. 

Nelly. Anything when you’re starved. (She 
takes up her oyster. As soon as she tastes it, she 
struggles with it, chokes, gasps, and throwing down 
her bowl almost strangles.) Good-night! Give me 
air! I think I’m sick! (The Priests rush up and 
take the bowl.) Say, waiter, take that away! Oys¬ 
ters ! What’ll the rest of the dinner be like if that 
was oysters! 

Lescia. She insults the favorite dish of Phar¬ 
oah! Rameses, how can you let her eat with you? 

Pharoah. It is something different. Rameses is 
interested. 

Lescia. I sorrow that the food does not agree 
with that which interests Rameses. I hope that it 
will not work her further misfortune. 

Nelly. Don’t you have anythin’ natural to eat 
here? Ain’t there no such thing as roast beef and 



EGYPT’S EYES 


$70 

potatoes or even a good hot dog? Gee, I’d like one 
of those right now! 

Ames. She eats dogs! Oh, unnatural and revolt¬ 
ing! 

Lescia. I faint at the suggestion! 

Nelly. They’re just sausages. 

Ames. We know not the word. 

Nelly. Never heard of Wieners! Gee, I sup¬ 
pose you never heard of scrambled eggs either, nor 
toast, nor Irish stew, nor ice cream, nor anything 
good to eat! 

Pharoah. The names are all strange to us. 

Lescia. How could eggs scramble? You are 
ridiculous! 

Nelly. Ridiculous ! It ain’t funny to me! I’m 
going to starve! 

Ames. She scorns the offerings of Egypt. Our 
fruit sours in her mouth. It is not well. 

Nelly. (Struggling to her feet) It’s me that’s 
ill. 

Pharoah. Have some of the wine, to soothe you. 

Nelly. No, thanks. No more of that. I—I 
guess I’ll be goin’. 

Pharoah . Where ? 

Nelly. Back to New York. 

Pharoah. How ? 

Nelly. Back through the same door, I guess. 

I- (Her eye falls on the blank walls of the 

Tomb. There is no door but the one leading out 
into the back, where the space of sky is deepening 
to a wonderful dark blue.) Why—why—there ain’t 
no door! 

Ames. There is nothing but the walls of the Tomb 
of Neferet, and behind that the Mountains of the 
Valley of the Dead. 

Nelly. But I came through the door, I tell you, 
from the New York Museum! Oh, I want to go 
back! 



EGYPT’S EYES 


7 1 

Ames. You can not go back. Strong Magic may 
have wrought upon Time and Space for you to have 
come through the doorway once, but now that door 
is closed, and no one knows when it will open again, 
if ever. 

Nelly. But I don’t want to stay! 

Lescia. And I dont want you to! 

Nelly. Those are the first words you’ve said 
I’ve liked. 

Lescia. You are an Evil creature. You know 
not our ways, and you bear secrets with you that 
it may not be well for Egypt to hear. 

Ames. The Lady Lescia speaks the truth, Oh, 
Pharoah. The strong Magic that has brought the 
Omen here may not have been for good. It would 
be well to ascertain that before she crosses the 
threshold into Egypt. 

Nelly. I wouldn’t hurt nothin’. 

Ames. She has been ignorant of our Gods. She 
treads upon the Sacred Cat. She feasts barbarous¬ 
ly on dogs and speaks strangely of bewitched eggs, 
and in names we know naught of. She may have 
come into Egypt to spread lies and evil. 

Nelly. No. I haven’t. If you’ll just let me 
alone, maybe it’ll be alright. If I get out maybe 
I’ll feel better. Please, it’s—it’s so awful stuffy in 
here, and hot, and that crazy dinner made me dizzy, 
and that bum drink. Please let me out. 

Ames. (Blocking her) Not until the doubt is 
wiped away. If you are a Goddess you will know 
the Seven Secret Names of Amen Ra, written un¬ 
der the Great Stone of Kamak, and known only to 
the Priests of Horus. What are these Seven Secret 
Names ? 

Nelly. I don’t know them. I hate puzzles, and 
I don’t feel well enough to do anything. I don’t 
know them, and I don’t want to. 

Ames. She profanes and scorns the Secret 


?2 EGYPT’S EYES 

Names! Sacrilege! Now she must speak the utter¬ 
most mystic Name of Amen Ra, or be killed indeed! 

Nelly. Can’t you let me alone! 

Lescia. She should be killed. I—it was I who 
said so first of all. 

Ames. Speak the Mystic Names. 

Pharoah. Speak. Or Pharoah will hold you in 
doubt. 

Nelly. I tell you I don’t know no mystic names. 
I don’t know ’em. I don’t know anything. All I 
want is to get out of here into somewheres, where 
there’s a breeze. This Tomb is worse than the sub¬ 
way and I’m sick of it. 

Lescia. I am faint, too, Rameses. Take me 
from this place, and let us leave the High Priest to 
kill the lying portent as he sees fit. 

Ames. It shall be killed before it crosses the 
threshold. 

Nelly. Gee, now I know you was the ones that 
killed Neferet, all right. 

Pharoah. What’s that? 

Lescia. She lies! She lies! Kill her! 

Nelly. If I was you I wouldn’t talk of killing. 
You’ve done too much of it, and some day you’ll 
be found out! 

Lescia. No! No! She throws Evil on me! 
Rameses, take her away! 

Ames. She shall die on the knife of the High 
Priest. (He has drawn a knife and stands over 
her.) 

Nelly. No. No. You look out! Don’t you 
dare do nothin’ to me! You killed Neferet, hut you 
ain’t goin’ to kill me! 

Pharoah. Stop! Ames, put down your knife! 
You say they killed Neferet? How did they do 
this? 

Nelly. (Trembling) I don’t know. But I 
swear they did. 


EGYPT’S EYES 


73 


Pharoah. By what do you swear? 

Nelly. By anything you like. I wasn’t goin’ to 
tell until they almost killed me. It’s only fair now. 
They did kill her. Look, look at them. They look 
as if they had. 

Lescia. No! No! Rameses! You cannot be¬ 
lieve it! 

Pharoah. We shall see. I have long wondered 
how Neferet died so suddenly. 

Nelly. They put poison in a pomegranate. 
Gee, as if they weren’t bad enough anyways. 

Pharoah. (Signalling to Priests) Take the 
Lady Lescia to the little room in the Temple Pylon. 
Keep her there until I come. Search her house for 
poisons. If any are found, bring them, and she 
shall eat them. 

Lescia. (As the Priests take her) No! No! 
Rameses! Have pity! 

Pharoah. Pharoah has spoken. 

Lescia. Rameses! If I kept poisons, it was for 
the jackals that crept around my door and disturbed 
my sleep, Rameses! 

Pharoah. You have disturbed Pharoah. Go! 

Nelly. Gee! You’re bein’ awful hard. Why 
don’t you let her go? 

Pharoah. She shall die, if the poisons are 
found. 

Nelly. Ain’t that awful. (To AmesJ You— 
you help her out. 

Ames. I am the High Priest. The justice of 
Pharoah is my justice. 

Nelly. But- 

Ames. The High Priest himself is above Justice. 

Nelly. Gee! This place is terrible. 

Lescia. Remember always, Rameses, that my 
poisons were kept so I might kill myself if I lost 
the love of Rameses, 



74 EGYPT’S EYES 

Pharoah. It is well. We will have a new Fa¬ 
vorite. 

Lescia. I pity her! 

Nelly. I do too. (It has grown quite dark in 
the Tomb. The sky without is a wonderful twi¬ 
light blue, and the last red sun rays come in over 
the threshold.) 

Lescia. You will pity her more when you learn 
she walks in hate and deceit, that those that smile 
on her are the ones that twist ropes about her feet, 
and sharpen their knives for her death. The Favor¬ 
ite of Pharoah! It is the Title of Death! 

Pharoah. Or of Life. Behold Lescia, in one 
moment it is both Life and Death, for we give it 
to the new Creature in lieu of her Death from the 
knife of Ames. 

Nelly. No! No! Not to me. I don’t want it. 

Lescia. (From the door) Pharoah has spoken. 
Great is Pharoah! You will soon find out what it 
is to taste the Favor of Pharoah. It is more bitter 
than a pomegranate. Creature. 

Nelly. No! No! I don’t want it! 

Lescia. Take it. I am through with it. (She 
goes with the two Priests.) 

Nelly. Please let me go. Oh, it’s so dark and 
hot in here. I’m frightened. Please let me go! 

Ames. Remember! Oh Lord of the Shining 
Names, that if the Creature is a Goddess she be¬ 
longs to the Temple. She must sit upon a great 
stone and have oxen killed before her, and drink 
their blood- 

Nelly. No! No! I don’t want anything killed 
for me! I ain’t a cannibal to drink blood. No! 

Ames. She must have ritual performed before 
her, and learn to recite the thousand chapters of 
the Book of the Dead! 

Nelly. Oh! I wished I’d never come! X 


EGYPT’S EYES 


75 

wished I’d never come! I don’t want to learn the 
Thousand Chapters of anything! All I want is 
something to eat, and I can’t have it! Oh! (She 
covers her face with her hands and sinks on the 
floor and bursts into tears) I’m so sick and so hot, 
and you’re all so hateful! I wished I’d never heard 
of Egypt! 

Ames. The Portent is Evil. Oh, Rameses, take 
care. 

Pharoah. It weeps! Poor creature! It is so 
small. (He stoops over Nelly and lifts her by the 
arm) It cannot be so evil, Ames, if it weeps and 
is so very small. It feels very human. 

Nelly. (Lifting her tear-stained face) I am. 
I ain’t no Goddess. Oh, can’t you see I ain’t? I’m 
just dizzy and hungry and don’t know what I’m 
sayin’. Oh, please let me out! 

Pharoah. Look, there are tears on its face. 
Real tears. Pharoah is not afraid. Rameses will 
keep the creature with the burning hair. 

Ames. (Bows) The will of the King of Up¬ 
per and Lower Egypt is Law. 

Pharoah. Rameses will keep her. She will be 
the new Favorite, indeed. See, she is warm, how 
smooth her arm is. It is white under the strange 
dress. 

Nelly. You let me alone. 

Pharoah. Ames, I think this creature is a wo¬ 
man, only a woman. One with strange burning 
hair. We will find out. 

Nelly. (Rising) Let go of me! 

Pharoah. What strange light eyes. There is 
something attractive about those eyes! 

Nelly. Let go of me. I don’t want anything 
to do with you. Let go! 

Pharoah. Would not the woman with the 
bright hair like to be the Favored of Pharoah? 


;6 


EGYPT’S EYES 


Nelly. I would not. 

Pharoah. You will lie in the Court of a Thous¬ 
and Lotus Pillars, and feast with Pharoah. 

Nelly. No. It makes me sick. 

Pharoah. The Favorite of Rameses is power¬ 
ful in the land. Whoever displeases her while she 
is Favorite, dies. Would you not like to see those 
that displease you torn slowly to pieces by leopards 
while you lie against my arm. 

Nelly. I should say not. I hate animal turns, 
even in the circus. 

Pharoah. They will die, for your pleasure! 

Nelly. I don’t want to see anyone die. You’d 
just as soon kill me as not next. Let go of me. 
You’re too brown and you don’t wear enough 
clothes. You’re a savage! I don’t want any favors 
of a brown savage who’s named after a cigarette, 
and lives on those awful pomegranates and likes 
to see people die! 

Pharoah. You will learn to take my favors. 

Nelly. No. No. I won’t. Oh, I wish I was 
back in New York. I do. If I was back in New 
York they wouldn’t allow you to talk to me like 
that! They’d arrest you. They’d put you in the 
lock-up anyways for walkin’ about dressed like a 
circus and talkin’ to respectable girls like that. I’d 
like to see it! 

Ames. Lock up Pharoah of the Shining Names! 

Pharoah. Pharoah is all powerful. 

Nelly. Oh, I wished I was back in New York. 
Oh, if I could only see some sky-scrapers, and the 
elevated railroad clangin’ round a corner and good 
old Broadway, I’d die happy. 

Ames. These are strange Gods. 

Pharoah. When you are the Favorite of Phar¬ 
oah you will forget your Gods and have only Phar- 
oah’s! 


EGYPT’S EYES 


77 


Nelly. No. No. I’m only Nelly Jones and I 
live on Twenty-eighth Street just off Broadway. 
Honest I do. I’m Nelly Jones and I don’t want to be 
no favorite of Pharoah—— 

Ames. Perhaps she is not worthy. 

Pharoah. Rameses will discover that for him¬ 
self. Ames, take these barbarous rags from her, 
and we will see what she looks like. 

Ames. Sekmet, protect me! 

Nelly. (Struggling with him) No. No. No. 
You let go of me, I tell you! What are you doin’ ? 

Pharoah. Is it true her hair burns, Ames? 

Ames. She is violent, Master. But it does not 
burn. It is soft. 

Pharoah. I would feel it. 

Nelly. Let go! Let go! You big bullies! I 
tell you I won’t stay and live here where they poison 
people and worship cats and it’s so hot you can’t 
breathe. Let go! (In her desperation she bites 
Pharoah’s hand. He springs back.) 

Pharoah. She has bitten me! 

Ames. Oh, Sacrilege! Oh, Horror! The hand 
of Rameses of Egypt! 

Nelly. I hope it hurts. 

Ames. Oh, double Profanation! The Temples 
will ring with ceremonies and sorrow. 

Nelly. Serves him right. 

Pharoah. She is a cat. Let her die as the sacred 
cats do! 

Ames. She shall be walled up alive in the Tomb 
until there is no breath in her, and her soul goes 
out to the Dead. 

Pharoah. It is just. 

Ames. Sekmet, Anubis, and Isis, take her soul. 
(He moves towards the door) We leave you in the 
Tomb from whence you came. Egypt is closed to 


EGYPT’S EYES 


78 

you. You have profaned it with your words and 
teeth. Now you shall die alone. 

Pharoah. It is just. (He stands in the door¬ 
way.) 

Nelly. Here, where you goin’? Let me out! 
Don’t you know there is no other way out but that ? 

Pharoah. There is no other way. And you 
shall die, for you have insulted Egypt. Ames, close 
the door. 

Nelly. No! No! 

Ames. Back. (He thrusts her hack so violently 
she falls to the floor and before she can pick her¬ 
self up they have closed the door.) 

Pharoah. (Just as the doors close) Die then, 
Creature who would not hold the Favor of Pharoah. 

Ames. May Sekmet hold you instead. (The 
doors shut.) 

Nelly. (Rushing to the door and heating on it) 
Let me out! Let me out! No! No! Let me out! 
(She drops hack exhausted. The room is quite 
dark, with the Hawk-headed figures showing rather 
ghastly and horrible in the half light.) Oh, them 
dreadful creatures, grinnin’ at me! Oh, I am 
afraid! It’s so hot and dark! There are faces. I 
don’t want to smother! I don’t want to starve to 
death. Where is the way back? Oh, there must be 
a way back! I want to go back to New York. Let 
me out! Let me out! (She falls on the floor.) 

(The heads of Menes and Afer appear over the 
door against the dark sky.) 

Menes. Look, look. She is mad and runs about! 
It is the creature Pharoah has condemned to die! 

Afer. She cries out. She is strange. But she 
will die soon. There is no food and very little air. 

Nelly. (Rises and rushes to them) Let me out! 

Menes. No. No. (They draw hack.) 


EGYPT’S EYES 


79 

Nelly. Let me out! Let me out! (There is 
silence. It has grown very dark. From beyond the 
door comes a laugh, and then silence.) Oh, let me 
out! Let me out! (She runs to the wall and pounds 
it with her fists.) 


CURTAIN 


EPILOGUE 

Scene: The Egyptian corridor of the Museum. 
Time: Evening. 

Characters (In order of Appearance) 

Peter, Neferet, Nelly Jones, Professor 
Periwinkle, Jimmie Greenberg. 

The Scene is the same as Act I, only it is very dark. 
Through the high window against which the 
black statue of Sekmet is silhouetted one can see 
the night sky and stars. Peter and Neferet 
enter left , Peter with a spotlight in his hand 
which illuminates the Tomb with its placards 
and railings as he enters. Neferet has Puy- 
son’s fur coat thrown around her Egyptian 
finery. She is sobbing breathlessly. 

Neferet. Hurry! Hurry! 

Peter. Take it easy. Here we are. Gee! what¬ 
ever did they do to you to get you in this state? 

That darkey boy who brought you here- Gosh! 

I never saw anyone run so fast in my life after he’d 
left you on the steps. He thought you was crazy. 
And after all, I don’t blame him much. You do 
act sorter funny. 

Neferet. (Drawing herself up) I stand again 
before my Tomb. 

Peter. You bet you do. And it’s twelve o’clock 
at night—and cold as sin. Go on in and find 
what you left. You oughtn’t to be wakin* the Mu- 
80 


EGYPT’S EYES 81 

seum at this hour of the night. I wouldn’t ’a’ let 
you in if I wasn’t soft. 

Neferet. I left my soul within my Tomb. 

Peter. Gee! You ain’t yourself at all since you 
changed into that rig and went off with George Puy- 
son. What’d he do to you, anyways? 

Neferet. He was a pig and a dog—and I would 
have killed him—only he ran from me. 

Peter. He did, eh? Well, I’m glad you gave 
him a good scare. I bet he deserved it. I don’t 
trust him none too well. 

Neferet. I hate him—and I am cold and miser¬ 
able—and starving! 

Peter. Say—you’d ’a’ better stuck to me and the 
coffee and rolls. Look here, you go on into the 
Tomb and change your things. I don’t blame you 
none for not wantin’ to wear that rig in the streets 
in January—and when you come out we’ll go off 
and have something hot together. What say ? 

Neferet. If I could go back, I would never come 
out. 

Peter. Oh, shucks! That Tomb ain’t none too 
big. You can’t get lost in it. Are you scared? 
Want me to go get your things for you? 

Neferet. The Gods forbid! Oh, Sekmet—help 
me to go back. (Bell rings off stage.) 

Peter. Gee! you’d better make it snappy. There’s 
the bell. Probably it’s somebody come after you. 
I’ll throw ’em out if I can—and you dodge in— 
quick! When you come out, I’ll help you—see? 
And I wouldn’t say I’d be doin’ this for everybody, 
either—and the middle of the night, too! 

Neferet. Oh, Great Goddess of Night! Help 
me to go back into the darkness that once was mine. 

Peter. Clean looney—poor kid! Gee! I’d like 
to punch that Puyson one! 

Neferet. Let there be no more light on the Fu¬ 
ture—only darkness and peace. 


82 


EGYPT’S EYES 


Peter. I gotta take this light with me. It’s the 
only one there is. You stay here and don’t be 
scared. But if I was you, I’d change—and make it 
snappy. (Exit.) 

Neferet. Great Sekmet! I call on you, by the 
secret name of Amon-Ra! Let me go back! (A thin 
line of light shows in the Tomb, and glitters on 
the dress of Neferet as she stands with her arms 
above her head as if in supplication.) Let me go 
back to the oblivion where there is neither past nor 
future, only sleep. 

Peter. (Off stage) No, you don’t go in there. 
I tell you this museum is closed! 

Periwinkle. (Off stage) But I insist, Peter. 
I tell you I insist- 

Greenberg. (Off stage / The young lady went 
in there—and we gotta go after her. 

Nelly. (From the Tomb) Let me out! Let 
me out! 

Neferet. Voices. Voices. Past—and Future. 
What are they but echoes of a strange Magic? 

Nelly. Let me out! Let me out! 

Neferet. I come. I feel the Magic work upon 
me. And when I go back through the door —may 
it be closed forever. (She walks into the tomb.) 

Nelly. Let me out! 

(Enter Peter, Periwinkle and Greenberg.) 

Peter. Well, what of it? Even if she did come 
here. I can take care of her without everybody else 
in New York ringing at the Museum door. This 
turnin’ night into day don’t go too big with me. 

Periwinkle. Just this once, Peter. Just this 
once. Remember this is a most remarkable occur¬ 
ence. 

Greenberg. A lot too remarkable. She’s here, 
all right. Here’s Puysen’s coat. 



EGYPT’S EYES 


83 


Nelly. Let me out! 

Peter. Gee! Maybe she’s got caught in! (He 
dashes across to the Tomb and catches Nelly just 
as she stumbles out.) 

Greenberg. Well—what do you know about that! 

Nelly. Oh, gee! It’s you! I thought I was 
goin’ to die in there! 

Peter. That’s all right. I come back as soon as 
I could. 

Nelly. Oh! You let me out—and you are real! 
You are real! Aren’t you? (She clings to him.) 

Peter. You bet! 

Greenberg. No, are we real? 

Peter. You let her alone. 

Periwinkle. But what I wish to ascertain is— 
(As he sees Nelly) Dear—dear! This is most 
extraordinary- 

Peter. That’s all right, Professor. You don’t 
want to ascertain nothing. The young lady’s had a 
scare—and she ain’t in no mood to discuss it. 

Nelly. No! No! Don’t let them get me! 

Peter. You bet I won’t! 

Periwinkle. But my dear child- 

Greenberg. Nobody’s goin’ to get you. Say, 
I’ll tell the world that was some trick, if James 
Greenberg does say so. 

Nelly. James—Green—are you? Are you? 

Say—I—I’m awful pleased to meet you. 

Greenberg. (Bursts into a laugh and claps the 
Professor on the back) Say—what do you know 
about that? She’s awful pleased to meet me! Af¬ 
ter this evening! Well—that’s some cute trick! 

Nelly. I—I don’t know nothin’ about tricks. 
But—but if you’re Mr. Greenberg—why. I’m—I’m 
Nelly Jones. I’ve—I’ve been in your offices a lot. 
I guess you don’t know me—but I’ve seen you. I— 

Greenberg. That’s all right, girlie. I’ve seen 
you now—and if you ever come around again I’ll 




EGYPT’S EYES 


84 

know you and show you right in. If you never do 
nothin’ else in your life you’ve put one over on Jim¬ 
mie Greenberg once—and that’s enough. You look 
me up—and we’ll see what we can do for you. 

Nelly. That’s—that’s awful good of you. 

Greenberg. I can take a joke on myself, all 
right. Don’t say anything more about it. 

Periwinkle. But this is all very upsetting to 
me—very. What did you do with your Egyptian 
things, my dear? 

Nelly. I never want to see them again. 

Peter. I don’t blame her none. 

Greenberg. We’ll put you into another kind of 
part. I’m kinda fed up on ’em myself, I’ll say. 

Periwinkle. But, dear me, is it possible—are 
you the same girl that was here this afternoon? I 
would so like to find out- 

Peter. Of course she is, Professor. 

Greenberg. The Professor ain’t on yet. But he 
will, maybe, sometime. Well, I ain’t stayin’ to find 
out anything further. I’ve had a strenuous evening 
and the Museum ain’t a place to end it in. Coming, 
Professor? 

Periwinkle. One moment! One moment! 

Greenberg. So long, then. Meet you outside. 
Remember—Girlie. James Greenberg—corner For¬ 
ty-first and Broadway. Make it tomorrow at eleven. 
So long. 

Peter. That’s luck for you, all right. 

Nelly. It certainly is. Gee! I can hardly think 
it’s true—a job from James Greenberg! And I 
thought I never was goin’ to play into luck again. 

Peter. Well, the Museum’s done somethin’ for 
you, anyways- 

Nelly. I’m awful grateful. 

Peter. Gee! that’s nothin’. Come along now, and 
let’s have that coffee and rolls- 


EGYPT’S EYES 85 

Nelly. Oh, wouldn’t I just love that! Oh, them 
pomegranates in Egypt—and that ox-blood wine! 

Periwinkle. What’s that? What did you say 
about ox-blood wine? 

Peter. Nothin’, Professor, nothin’. 

Nelly. Yes—it was all just nothing. It was a 
dream! 

Periwinkle. You think so— my dear? 

Nelly. What else could it ’a’ been? It— it all 
seems so far away now. I— I just walked out of 
the Tomb and here I was again. What else could it 
’a’ been but a dream? 

Peter. Nothin’ else at all. Let’s call it that. And 
say, now—that coffee and rolls are waitin’- 

Nelly. Oh—I’m terrible hungry! 

Peter. That’s the stuff! They won’t be no 
dream! Coming, Professor? 

Periwinkle. Dear me! Dear me! (He has 
been peering into the Tomb.) There doesn’t seem 
to be a trace of anything in the Tomb. 

Peter. Of course there isn’t. What did you 
think was there? Egypt? 

Periwinkle. I couldn’t make sure. I couldn’t 
make sure. 

Peter. Aw, come on now, Professor. Egypt’s 
dead—and what we want is some good hot coffee. 
Will I make some for you? 

Periwinkle. Yes— if you like. I think we all 
need it. 

Peter. Sure we do. Mind the bench there. 

Nelly. I’m cornin’. I—I kinda like the Mu¬ 
seum, after all, Peter. 

Peter. Gee! that’s fine. Come along, Profes¬ 
sor. 

Periwinkle. Just the same, Peter—just the 
same- 

Peter. Well, Professor- 

Periwinkle. If I believed in Magic, Peter—it 




86 EGYPT’S EYES 

would take more than a cup of coffee to make all 
this straight. 

Peter. But you don’t believe in Magic, Profes¬ 
sor. 

Periwinkle. No, Peter, but just the same- 

Peter. Yes, Professor? 

Periwinkle. Just the same, Peter, I sometimes 
wish I did. Coming, Peter, coming. 


CURTAIN 



SUGGESTIONS FOR SAMPLE SCENERY 
AND COSTUMES FOR AN AMATEUR 
PRODUCTION OF EGYPT’S EYES 

Scenery 

The scenery for this play is not nearly so difficult 
to make nor so elaborate in construction as it may 
seem to be at first glance. The following are a few 
suggestions that can be carried out by the most inex¬ 
perienced of amateurs on a small stage and give quite 
a good effect. 

Only one set is necessary for all the acts. 

This set should be made of eight plain canvas flats 
on light movable frames, four feet wide and the cor¬ 
rect height for the stage. 

Muslin stretched very taut can be used instead of 
canvas. 

There should also be a ceiling made of light flats. 

The flats should be arranged on the stage so that 
a. door space is left center back and in the center of 
each side. Returns six inches in depth should be 
made around all these doors to give the impression 
of solidity. Three small flats four feet square with 
returns six inches in depth must be made to fit into 
these door spaces. These little flats can be lashed 
either at the top or at the bottom of the spaces, thus 
making either a door or a window as desired. In 
the first act and in the epilogue for the scene of the 
Museum—the two flats stage left with the small flat 
lashed between them at the top, are moved out from 
the bottom, though remaining lashed at the top. This 
forms the sloping front of the Tomb of Neferet, and 


88 


EGYPT’S EYES 


two triangular flats should be made to fit into the 
spaces so made for them. This makes a very effec¬ 
tive Egyptian tomb indeed—and for the other scenes 
the extra triangular pieces simply are removed and 
the flats put back in place. The simplicity of this is 
really more effective than trying to build anything 
elaborate which might possibly be quite wrong archse- 
ologically. A visit to the Metropolitan Museum of 
New York will show that the Egyptian Tomb there 
has these very simple lines. 

The entire set should be stippled to a warm yet 
still neutral fawn color. Red, blue, green and yellow 
can be used in the stipple and it will take lights very 
well. 

It is quite easy to get any carpenter to make such 
simple flats as these if given explicit directions and 
measurements. The canvas or muslin is easy to 
stretch and to paint. The set made for this play of 
this sort cost less than fifty dollars, including every¬ 
thing. 

For decorations in Act I and the Epilogue take 
pieces of brown paper, or of the canvas, and paint 
with brown shadow outline exact reproductions of 
one or two Egyptian Cartouches and designs. These 
then should be stippled in exactly the same color as 
the flats, and pinned or tacked very lightly to the 
Tomb. If these cannot be well done, it is better to 
do without them. A good size for a hieroglyph of 
this sort is two feet long by eight inches wide. Any¬ 
thing smaller than this does not carry. 

Not more than three designs should be put on the 
Tomb, and of course the rest of the walls are quite 
bare. 

For the statue of Sekmet, a seated dummy figure, 
life size, on a high black box, back stage against the 
center opening, which this time is, of course, a win¬ 
dow. The dummy can be tightly swathed, or else 


EGYPT’S EYES 


89 

painted black, and must have a black lion’s head. 
Any costumer’s paper lion’s head will do, painted 
with black enamel. As this statue is against the light 
of the window, the details, if crude, will not be too 
noticeable. Much the best effect is obtained by keep¬ 
ing the statue always strictly in silhouette. 

The lighting of this act is very important indeed. 
The feeling is entirely lost for the whole play if the 
gradual darkening of the stage and then the slow 
flood light from the Tomb is not carefully worked 
out. This should be practiced as much as the acting. 
Elaborate lights are not necessary, dimmers and one 
spot being all that is required, but they must have 
expert handling. The simplest and barest of stage 
sets in this play will pass with intelligent lighting— 
and the most elaborate fail with bad. 

In Act III the gradual sunset and darkening is 
very important also, and of course quick work is 
required in Act II. 

For the decoration of Act III the same plan can 
be followed as in Act I and the Epilogue, of painting 
and stippling pieces of canvas or paper with Egyp¬ 
tian designs to be temporarily placed on the walls. 
Care must be taken to keep them very simple and 
absolutely accurate. There are many very lovely 
Egyptian designs which can be found in any book 
on the subject and copied. The colors of clear scar¬ 
let and blue and yellow should be followed exactly 
also. Very few designs are better than too many. 
An atmosphere of austere simplicity is much the best 
background for the costumes. The Throne of 
Pharoah, unless a real Egyptian antique, had better 
be rigidly simple in line, and also the little tables 
for the fruit. Even plain boxes painted scarlet and 
blue serve very well and are far better than some¬ 
thing more elaborate with the wrong lines. The 
doors at the back center can be made of beaver-board 
and a bronze and green mixed stipple is most effec- 


EGYPT’S EYES 


90 

tive. A space of blue sky should be seen above them 
as is described in the play. This sky need not be a 
whole cyclodrama. The only vista of sky ever needed 
is the small area directly back stage. 

Act II presents no problems in the way of scenery. 
The same flats do very well for a background of a 
living room. If a piano is not possible, Greenberg 
can strum a banjo or mandolin. 

Costumes 

The following are a few suggestions for the Egyp¬ 
tian costumes of this play. 

The idea that an ancient Egyptian costume is an 
elaborate affair of gold and spangles ought to be 
avoided at all costs in this little play. The utmost 
simplicity and authenticity should be followed out in 
the Egyptian costumes or else they appear ridiculous. 
Plain, clear colors of blue and scarlet and yellow 
should be used, simple materials and utmost accur¬ 
acy of line. They should follow as nearly as possible 
in line, color and texture the costumes of old hiero¬ 
glyphs, since this is the nearest thing we have to the 
real costumes of Egypt of that time. 

Neferet 

An accurate dancer costume of the time is prac¬ 
tically impossible to reproduce on the stage. The fol¬ 
lowing is a simple compromise that has been found 
effective. Neferet wears a straight skirt of gold 
cloth not too full, reaching just above her ankles. 
Over this is a very full skirt of accordion pleated 
thinnest blue chiffon, a little longer. She has a firm 
wide gold and blue girdle with her cartouche as a 
buckle. This can be painted on gold cloth. Her 
feet are bare or with the simplest of flat open gold 
sandals. She wears anklets—-colored glass is excel- 


EGYPT’S EYES 


91 

lent. Her body from the waist up is swathed tightly 
with bands of gold and she has a wide flat collar of 
blue and scarlet and gold Egyptian beads, and arm- 
lets and bracelets of the same. Her hair is thick and 
black and cut very squarely at the shoulders, and 
bound with a thin fillet of scarlet or gold. This is 
not an expensive costume, but if necessary, heavy 
white linen gilded is almost as good as cloth of gold. 
What cannot be stressed too much is the simplicity 
of line and color that should be kept. She carries a 
small dagger in her belt. 

Pharoah 

A great many mistakes can be made in Pharoah’s 
costume. All these can be avoided by following 
closely the design of a Pharoah costume in an au¬ 
thentic Egyptian wall painting. Reproductions of 
these can be found in any good Egyptian History. 

Pharoah’s costume can most effectively be of the 
simplest materials. He should be a tall man of com¬ 
manding presence and if possible with a hawk-like 
face. His skin should be stained a deep bronze. He 
wears a stiff skirt to his knees of scarlet or gold and 
his body is swathed from his waist up with scarlet 
and blue and gold. Linen or even strong cotton of 
good color can be used for this better far than silk. 
His ornaments—his flat wide collar, armlets, anklets, 
bracelets and belt, with cartouche and front tab, can 
be made of heavy cloth gilded and painted with exact 
Egyptian designs in scarlet and white and green and 
blue. Even cardboard can be used for this. The 
more he looks like a hieroglyph stepped down from 
the wall the better. His crown can be made of card¬ 
board gilded. The design is the same for all 
Pharoahs and easier to find than to describe here. 
It should be about a foot high. It is not hard to 
make. If it is gilded, an excellent plan is to stipple 


§2 EGYPT’S EYES 

it lightly to take off the glare. The shape of the 
crown of Pharoah in the picture is correct. This 
was made of double cardboard. 

Ames 

The High Priest is bronzed to the same dark color 
as Pharoah. He wears a long straight robe of white 
linen with collar and tabs of gold with Egyptian de¬ 
signs. These are made, like Pharoah’s, of cardboard 
gilded and painted. It is a good plan to keep the 
colorings, designs and materials of all the Egyptian 
costumes in this act on the same plane. Ames wears 
a close dark blue skull cap and carries a high gilded 
staff. 


Menes and Afer 

These costumes should be as simple and scant as 
possible, and of course the same dark brown make¬ 
up, possibly even darker than the others. If they 
wear colored garments they must be of a simple 
striped material and exactly alike. Or they could 
wear short white linen shifts to their knees with 
scarlet and blue belts. If shaven heads are not feasi¬ 
ble—dark tight skull caps. No ornaments, except 
possibly a wide gold armlet for each. The stage 
effect is much enhanced by these two being identical 
in size and costume and moving together. 

Lescia 

This costume must be authentically of an Egyptian 
lady and yet as different in coloring and design from 
that of Neferet as possible. A costume of decided 
purples and greens makes a good contrast. Lescia 
can wear a tight skirt of green—not an emerald but 
a jade green—and over that thin pleated purple chif- 


EGYPT’S EYES 


93 

fon. This hangs from a gold or jewelled girdle and 
her body is swathed in tight bindings of green, 
purple and gold strips. Her necklaces are of gold 
and green and purple beads and, she wears many 
bangles, anklets, etc. On her head she can wear the 
gold snake circlet with the wings each side. These 
can be cut from cardboard or cloth of gold and 
painted, keeping the green and blue and purple col¬ 
orings. This headdress should be copied from a 
genuine Egyptian picture. It is not hard to make. 
The wings should be about six inches long by four 
wide at the top. Lescia could carry a purple or 
green plumed fan. Her make up is brown—but not 
heavily so. She wears gold sandals. 

In choosing the accessories for this act—such as 
the dishes and baskets for the fruit, etc.—the sim¬ 
plest properties are the most effective: if possible, 
flat, bright-colored woven baskets for the fruit and 
copper dishes of the simplest design for the wine. 

There is no difficulty connected with the modern 
costumes of the play. The following is a list of the 
essentials. 

Nelly. A small person. Red hair or wig. Sim¬ 
ple dark blue or green winter suit—rather shabby 
with moth-eaten fur trimming. Simple hat. Vanity 
bag. 

Periwinkle. Small, stoop-shouldered man. El¬ 
derly makeup, white hair. Glasses with long black 
ribbon. Rusty black frock coat and suit. String 
black tie. Papers, etc. 

Peter. Blue Museum guard costume. Sturdy 
Irish type. Keys. 

Puysen. Large rather stout man. Cutaway and 
grey striped trousers—waistcoat with a white line. 
Everything a little too expensive looking for perfect 
taste. High hat, fur-lined overcoat, cigar in pocket. 

Greenberg. Small Jew makeup. Black and white 
pin-check suit. Red tie. White carnation in but- 


94 EGYPT’S EYES 

tonhole. In Epilogue: flashy overcoat and brown 
bowler hat. 

Graves. Butler with sideburns. Rather elderly 
and very impressive. 

Yama. Small Hindu makeup. Cook costume 
with white cap and apron. 

Bell Boy. Darkey elevator boy, preferably small. 
Dark blue uniform. 

Mrs. Van Renssler. Dignified, tall, elderly ma¬ 
tron with perfect gray coiffure and elaborate evening 
gown and cloak. Lorgnette. 

Iris Van Renssler. Well turned out debutante, 
evening dress and cloak. 


Tine Famous Mrs. Fair 

A play in 4 acts. By James Forbes, author of “The Com¬ 
muters”, “The Traveling: Salesman”, etc. 3 males, 10 females. 
2 interiors. Costumes modern. Plays 2% hours. 

Mrs. Fair was a major abroad and won a medal for bravery. 
Her husband was displeased when Mrs. Fair came home to a 
fame which lifted her out of his life. The dissatisfaction grew 
as she became absorbed in public functions. Mr. Forbes traces 
the widening of the rift between husband and wife with great 
skill in the first two acts. These are light comedy. In the third 
the mood becomes serious and we find that Mrs. Fair’s absence 
from home has set the husband to philandering and the daugh¬ 
ter to intimacy with a gay set. Indeed, only through the joint 
efforts of husband and wife to save the girl from danger, is 
harmony again established. 

A true comedy, written with keen insight. Royalty, $35.00. 
Price, 75 cents. 

Nothing But the Truth 

Comedy in 3 acts. By James Montgomery. 5 males, 6 fe¬ 
males. Costumes, modern. 2 interiors. Plays 2% hours. 

Is it possible to tell the absolute truth—even for twenty- 
four hours? It is—at least Bob Bennett, hero of “Nothing But 
the Truth”, accomplished the feat. The bet he made with his 
business partners, and the trouble he got into is the subject of 
William Collier’s tremendous comedy hit. “Nothing But the 
Truth” can be whole-heartedly recommended as one of the 
most sprightly, amusing and popular comedies. Royalty, $25.00. 
Price, 60 cents. 

Oh the Hiring Mae 

Comedy in 3 acts, by Harvey O’Higgins and Harriet Ford. 
5 males, 4 females. 1 interior. Costumes, modern. Plays 2*4 
hours. 

Sherman Fessenden, unable to induce servants to remain at 
his Jersey home, hits upon the expedient of engaging detectives 
as domestics. 

.His second wife, an actress, weary of the country, has suc¬ 
ceeded in discouraging every other cook and butler against 
remaining long, believing that she will convince her husband 
that country life is dead. So she is deeply disappointed when 
she finds she cannot discourage the new servants. 

The sleuths, believing they are called to report on those living 
with the Fessendens, warn Fessenden that his wife has been 
receiving love-notes from an actor friend, and that his daughter 
is planning to elope with a supposed thief. 

One sleuth causes an uproar making a mess ©f the situations 
he has witnessed. Fessenden, however, has learned a lesson 
and is willing to leave the servant problem to his wife. 

Enjoyed long rims in New York and Chicago. Royalty, $25.00. 
Price, 75 cents. 


SAMUEL FRENCH, 25 West 45th Street, New York City 
New and Explicit Descriptive Catalogue Mailed 
Free on Request 



Dulcy 

Comedy in 3 acts. By George S. Kaufman and Marc Con¬ 
nelly (with a bow to Franklin P. Adams), 8 males, 3 females. 
1 interior. Costumes, modem. Plays 2*4 hours. 

In her determination to help her husband and friends Dulcy 
plans a week-end party. They are an ill-assorted group, such' 
as only a Dulcinea could summon about her. Their brief asso¬ 
ciation becomes a series of hilarious tragedies. It is Dnicy’s 
final blunder which unexpectedly crowns her efforts with success. 

Meanwhile she has all but ruined her husband’s plans to 
put through a big merger with a rich capitalist. Among her 
guests is a rapturous scenario writer who conspires to elope 
with the daughter of the capitalist, who loathes motion pic¬ 
tures. The rich young man from Newport, who Dulcy thinks 
may be useful in assisting the capitalist’s wife to write for the 
films, turns out to be an escaped lunatic. The ex-convict butler 
steals a necklace. Everything goes wrong. But the most ex¬ 
quisite torture she inflicts is when she invites the scenario 
writer to recite one of his hectic plots to music played by the 
lunatic. It is with this that the play reaches its highest level 
of satirical fun. 

“Dulcy” ran for a season in New York, and is now on tour 
throughout the United States and Canada. Royalty, $25.00., 
Price, 75 cents. 

Come Out of the Kitchen 

Comedy in 3 acts, adapted by A. E. Thomas from the story 
by Alice Duer Miller. 6 males, 5 females. 3 interiors. Cos¬ 
tumes, modern. Plays 2% hours. 

“Come Out of the Kitchen,” with Ruth Chatterton in the 
leading role, made a notable success on its production by Henry 
Miller in New York. It was also a great success in Eondon. A 
most ingenious and entertaining comedy. We strongly recom¬ 
mend it for amateur production. Royalty, $25.00. Price, 75 
cents. 

Kempy 

Comedy in 3 acts, by J. C. Nugent and Elliott Nugent. 4 
males, 4 females. 1 interior throughout. Costumes, modern. 
Plays 2% hours. 

The story is about a highfalutin daughter who in a fit of 
pique marries the young plumber-architect, who comes to fix 
the water pipe, just because he “understands” her, having 
read her book and sworn to marry the authoress. But in that 
story lies all the humor that kept the audience laughing every 
second. 

The amateur acting rights are reserved for the present in 
all cities and towns where there are stock companies. Royalty 
will be quoted on application for those cities and towns where 
it may be presented by amateurs. Price, 75 cents. 


SAMUEL, FRENCH, 25 West 45th Street, New York City 
New and Explicit Descriptive Catalogue Mailed 
Free on Request 



Daddy Long-Legs 

A charming comedy in 4 acts, by Jean Webster. 6 males, 
7 females, and 6 orphans, but by easy- doubling of some char¬ 
acters, may be played by 4 males, 4 females and 3 orphans^ 
The orphans appear only in the first act and may be played 
by small girls. 4 easy interiors. Costumes modern. Flays 2% 
hours. 

The New York Times wrote the following: 

"If you will take your pencil and write down, one below 
the other, the words delightful, charming, sweet, beautiful and 
entertaining, and then draw a line and add them up, the answer 
will be ‘Daddy Long-Legs’. To that result you might even add 
brilliant, pathetic and humorous, but the answer even then 
would be just what it was before—the play which Miss Jean 
Webster has made from her book, ‘Daddy Long-Legs'. To at¬ 
tempt to describe the simplicity and beauty of ‘Daddy Long- 
Legs’ would be like attempting to describe the first breath of 
Spring after an exceedingly tiresome and hard Winter.” 

Enjoyed a two-years' run in New York and was then toured 
for over three years. Royalty, $25.00. Price, 75 cents. 


To the Ladies 

A hilarious comedy in S acts, by George S. Kaufman and 
Mare Connelly. 11 males, 3 females. 3 interiors. Costumes, 
modern. Plays 2*4 hours. 

The authors of ‘‘Duley” have divulged a secret known to 
every woman—and to some men, though the men don’t admit It. 

The central figures are young Leonard Beebe and his wife 
Elsie, a little girl from Mobile. Leonard is the average young 
American clerk, the kind who read all the “Success” stories in 
the magazines and believe them. Elsie has determined to make 
him something more. She has her hands full—even has toi 
make an after dinner speech for him—but she does it and the 
play shows how. 

Helen Hayes played Elsie and Otto Kruger impersonated 
Leonard in New York, where it ran a whole season. Here’s a 
clean and wholesome play, deliciously funny and altogether a 
diverting evening’s entertainment. Royalty, $25.00. Price, 75 
cents. 

Three Live Ghosts 

Comedy in 3 acts by Frederick Isham and Max Marcin. 6 
males, 4 females (2 policemen). 1 interior throughout. Cos¬ 
tumes, modem. Plays %V% hours. 

"Three Live Ghosts” is brim full of fun and humor and is 
sure to keep audiences in gales of laughter. The New York 
critics described it as the most ingenious and amusing comedy 
of the season, genuinely funny. It played a full season itf 
New York, then toured the big cities. A lively comedy of merit. 
Royalty, $25.00. Price, 75 cents. 


SAMUEL FRENCH, 25 West 45th Street, New York City 
New and Explicit Descriptive Catalogue Mailed 
Free on Request 



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James Forbes 

George Broadhurst 

James Montgomery 

Edward E. Kidder 

Wm. C. de Mille 

Percy MacKaye 

Roi Cooper Megrue 

Sir Arthur Conan Doyle 

Edward E. Rose 

Louis N. Parker 

Israel Zangwill 

R. C. Carton 

Henry Bernstein 

Alfred Sutro 

Richard Harding Davis 

Harold Brighouse 

Channing Pollock 

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Sir Arthur W. Pinero 

Winchell Smith 

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Oscar Wilde 

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A. E. W. Mason 

Jerome K. Jerome 

Charles Klein 

Cosmo Gordon Lennox 

Henry Arthur Jones 

H. V. Esmond 

A. E.Thomas 

Mark Swan 

Fred. Ballard 

Grace L. Furniss 

Cyril Harcourt 

Marguerite Merrington 

Carlisle Moore 

Hermann Sudermann 

Ernest Denny 

Rida Johnson Young 

Laurence Housman 

Arthur Law 

Harry James Smith 

Rachel Crothers 

Edgar Selwyn 

Martha Morton 

Augustin McHugh 

H. A. Du Souchet 

Robert Housum 

W. W. Jacobs 

Charles Kenyon 

Madeleine Lucette Ryley 

C. M. S. McLellen 

French's International Copyrighted Edition contains 
plays, comedies and farces of international reputation; 
also recent professional successes by famous Ameri- 

can and English Authors. 


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SAMUEL 

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Oldest Play Publisher in the World 

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NEW YORK CITY 






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